A biographical register of Australian colonial musical personnel–H (Hi-Hy)

Graeme Skinner (University of Sydney),
"A biographical register of Australian colonial musical personnel–H (Hi-Hy)",
Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):
http://sydney.edu.au/paradisec/australharmony/register-H-2.php;
accessed 15 August 2018

The sickness of the 63rd, we are happy to say, had nearly subsided - Major Briggs and Capt. Gibbons were returning to England;
and Surgeon Russel had gone to Penang on sick leave. Hickson, the flute-player of the band, had died.

HIGGINSON, Joseph

Bellman, bellringer

Active Sydney, NSW, 1838

Documentation:

"A LUNATIC", The Sydney Gazette and New South Wales Advertiser (21 April 1838), 2

On the evening before last, a young man whose intellects are subject to derangement, and who earns a
scanty existence by ringing "those evening bells" that enliven the streets at night,
entered the house of Mr. Farrell, the publican, of George-street, between the
hours of 7 and 8 o'clock. Knowing the man's affliction, Mr. F. ordered him out,
and he went. At 9 o'clock he again returned, and was forcibly put out by
Mr. Farrell. At 10 o'clock Mr. F. perceived, from his parlour, the front
folding doors gradually and slowly open, and a head cautiously intruded through the opening.
Anxious to see the end of the affair, he suffered the party to steal
softly and unobserved (as he supposed) up to the counter, when he unexpectedly
darted forth and seized - to his inexpressible surprise - the same deranged visitor.
He was sent to the watch-house for protection. - Joseph Higginson is the name of the
unfortunate, whom we recommend as a fit object of charity to the Committee of the
Benevolent Assylum; he is perfectly harmless and inoffensive.

The song The bushman,
first published in Adelaide in 1845, was still popular in South
Australia in the 1860s. It was evidently a favorite of Higgins, a
grazier, who sang it several times at public dinners, where the press
variously referred to it as "The bushman's life" and "The bushman's song", and positively identified it by its chorus: "[Then]
Hurrah! for a bushman's life".

Mrs. T. W. Higgins was also a regular performer at musical events in the Port Elliot region.

Mr Wallace gave a "Grand Concert" at the Exchange last evening,
which was honoured by a very numerous audience, including his Excellency Sir Henry Young, Lady Young,
and suite, with all the elite of Adelaide society. The Governor arrived at 8 o'clock,
when the national anthem was tastefully performed by the band, the assemblage rising simultaneously.
The principal novelty of the evening was the appearance of a fair debutante, a Madame Von Hile, a vocalist of
of whose powers no little expectations were formed. We fear her friends must have been a little disappointed in the debut,
for although we stood within a dozen yards of the accomplished songstress, we could scarcely hear a note distinctly.
Madame Von Hile whispered divinely no doubt, but nobody could hear anything except the accompaniment, save the fiddlers . . .
We maintained our seat with mingled pleasure and pain throughout the performance,
until Madame Von Hile struck up the rather personal enquiry, "Why are you wandering here I pray?"
of which we only stayed long enough to admire the sweet intonation . . .

. . . The lady who made her first appearance under the name of Madame Von Hile,
was evidently nervous to a painful degree, and her timidity prevented her voice rising to a pitch sufficiently high to fill
a room so much larger than any she can have been accustomed to sing in.
She has a sweet and highly cultivated voice, and her singing is truly that of a lady.
All she requires is a little more confidence, which custom alone can give her.
Ja her third song, "Why are you wandering here I pray?" she had somewhat recovered her self-possession,
and being warmly encored, repeated it with increased effect. Those who were near to the orchestra heard enough to
convince them that she is a singer of no ordinary merit, and to feel assured that they are not
yet able fully to estimate her powers . . .

"MR. WALLACE'S CONCERT", South Australian Gazette and Mining Journal (25 May 1850), 3

. . . Madame Von Hile is evidently a highly accomplished vocalist,
and that taste is to be condemned which could not make reasonable allowance for any lady's first appearance at a public concert.
Notwithstanding her timidity, she was warmly and deservedly encored in her song, "Why are You Wandering Here" . . .

MRS. HODGES Better known to the Musical World as MADAME VON HILE,
IS prepared to receive a few YOUNG LADIES as DAY PUPILS, at her present residence, near the East End of
Rundle-street. Terms, including French, £10 per Annum. Music, Singing, and Drawing, each £2 per Quarter.

The long interval which has elapsed since Mr. Wallace last catered for the entertainment of the musical
world of Adelaide, owing to the imperfect state of his health, and the promise of his published programme,
gave to his concert of Tuesday evening last considerable interest . . . Of the performances generally we have only space to
remark, that Mr Wallace's violin performances were admirable, and we think superior to his
previous displays of taste, accuracy, and execution - their only fault being their length and number.
Mrs. Murray, as usual, did herself much credit, and a similar remark may apply
to Miss Lazar in her difficult pieces. Madame Von Hile only wants confidence to become a
fine singer; her voice is particularly sweet, and she has evidently had every advantage which
education can give; - but the difficulty a lady must experience in singing before a public
company when she has only been accustomed to gratify a circle of friends in the drawing-room,
may well account for that nervous feeling which paralyses energy and almost restrains utterance . . .

... "I'm Parish Clerk and Sexton here", was sung with much humour by Mr.
Hill, but the want of those essential requisites to give such songs effect-namely dress and music [i.e. instrumental accompaniment]-greatly
detracted from its comicality. The former we understand was objected to by the Directors upon some principle of Etiquette.

We understand that our respectable fellow-colonist, Mr. Arthur Hill, is engaged by the
Proprietor of the Sydney Theatre, for the next season, to sustain a line of characters for which report states he is eminently qualified. We have
never seen Mr. Hill "on the boards", and therefore cannot speak from our own knowledge.

The comedy of The Rivals was the first piece, and with the exception of some two or three
of the inferior characters, was creditably performed ... The Sir Lucius of Mr. Simmons though a tolerable performance, was not equal to the
representation that we have seen of it by the deceased Mr. Arthur Hill.

Hill's The Australian grand waltzes
("A New Year's Gift ... composed and arranged for the Piano Forte, by Arthur S. Hill, 99th
Regiment") were published in Sydney in 1848 (no copy identified), and his
The Wivenhoe quadrilles and
Geelong schottisch respectively in
Henry Butler Stoney's Tasmanian lyre and Delacourt bouquet in Hobart in 1854/55.

Hill regularly appeared in Hobart as a concert flautist.
In April 1854, at St. Joseph's Church, Hobart, he married Ann Sophie Hopkins,
daughter of the former Hobart dancing master Gattey Hopkins.

He was not regimental bandmaster in Australia (the master was
Robert Martin), although he may have been later. He died at Cork, Ireland, in 1865.

Bernard Hill, once a bandsman in the 99th regiment, aged about 26 years, and who had lately
been employed as an assistant in a druggist's shop, in George-street, but had latterly been unemployed, feeling himself unwell on Thursday
afternoon, got some medicine (supposed to be laudanum) which he took, and shortly after became insensible till mid-day, yesterday, when he
expired in the room of his father, Serjeant Hill, of the 99th regiment.

... a woman named Margaret Hill, aged 30 years, was lying dead at Paddington,
from the effects of a wound received from her husband ...
The husband, John Hill, is a musician, and was formerly drum-major of the 99th Regiment ...
The prisoner, who is a man of about 40 years of age, was, as before stated,
formerly drum-major in her Majesty's 99th Regiment, and has been in receipt of a pension.
He has also been in the city police, from which he was discharged some time ago.
He obtained a livelihood by playing with one of the bands at the theatre.
He is of average height, and has a thin and anxious expression of countenance ...

We are sure on this occasion Mr. Barnard Hill, with whom we have the honour to be personally
acquainted, he having recently cut some rafters for our fowl-house at Knocklofty, and whose exquisite Paganini touches on the violin we so
frequently have the pleasure to hear, urging, as we pass the corner, the fantastic toes of the ladies and gentlemen who frequent Mr. Walford's
ball-room, at the King George - we are sure he will excuse us for once, for paying that we fear he would not think himself fairly tried in a
dispute about cutting rafters or the price of an hour's catgut scraping by such men as Mr. Meredith or Major Schaw, any more than the latter
gentlemen would fancy their rights and privileges, especially as regards the intricate points of literature and libel, fairly confided and
adjusted by his unbiassed decision.

Hill succeeded George Loder as conductor of the Sydney opera season in 1866.

A friend and colleague of Alfred Anderson,
a decade later John Hill also played in the
Ilma De Murska concerts, and
within months of Anderson's death, he notoriously married the recently
bereaved singer in a ceremony on tour in New Zealand.

Curiously, according to the recollections of Murska's manager De Vivo (1897), at
the time of Anderson's death Murska had "detested" Hill. By 1881, he was
conducting under the name John Hiller, and was still active in London in 1899.

On Monday, the 13th instant, Mr John Hill, lately from London, pianist and organist
of considerable abilities, gave his first concert at the Australian Library, which was fashionably and well attended.
The principal feature of the concert was the performances of Mr. Hill on the pianoforte and harmonium,
which created a marked impression of his powers on both these instruments.
In the Fantasie sur l'Opéra Lurline de Wallace, by Ascher, Mr. Hill displayed fine capabilities as a solo pianist,
his enunciation being clear and distinct. A fine instrumental effect was a duet for harmonium and pianoforte,
by Mr. Hill and Mr. Frederic Ellard, which was admirably performed by both those gentlemen. The overture to
William Tell, also performed by Mr. Hill on the harmonium, was a brilliant effort. These were decidedly the pieces de resistance of the
evening. Mr. Hill afterwards performed Boulanger's celebrated Impromptu polka.

Harry Paulton should cut out that portion of his text in "Les Mousquetaires" which refers to marrying a
prima donna, for if I [5] mistake not, the conductor, M. Hiller, is Mr. John Hill,
who has married a prima donna in the shape of Mdlle. Ilma de Murska.
The passage becomes personal, and people who know of the circumstance at once stare at M. Hiller,
much as to say, "That's a rub for you, old man!" Speaking of M. Hiller, I had not seen him for many,
many years until within the last week. When last we shook hands he was Jack Hill, and so youthful that
it was a work of difficulty for him to convince his friends that he possessed a moustache.
He dallied with the fiddle at this time, and when the late Alfred Mellon gave Promenade Concerts
at Covent Garden, Jack was, I think, a second violin, and played the pianoforte accompaniments for the
vocalists. I lost sight of him for a long time, and when I next heard of him,
he had gone to Australia, and in Sydney he used to charm some friends of mine with his
organ performances, and where he was always ready make one in a quartet for strings.
Then I heard that had married Mdlle. Ilma de Murska, and the other night I saw a face at
the conductor's desk at the Globe, which puzzled me. I looked at the programme, and
I read "Director of the Music and Conductor, M. Hiller." I knew the face, but not under that name.
Who could it be? thought I. And then it dawned upon that it was Jack Hill.
But he has grown into a man, something like Mons. Faure, the baritone.
John is an excellent conductor, and uses his baton, not like some of the puling and uncertain time-beaters whom
we see at the theatres; but like man who thoroughly understands his business.
He was always clever. He is the nephew of Mr. Weist Hill, and I always thought he would make a
considerably bigger man than his uncle.

The Mr. John Hiller who will conduct Messrs. Sousa and Klein's "El Capitan" at the Lyric
on Monday, will perhaps be better known here as Mr. John Hill, and was husband of the
prima donna Ilma de Murska. He was a cousin of the late Weist Hill, first principal of the
Guildhall School of Music. Nearly forty years ago he was a member of the opera orchestra,
and later on he conducted during one of the autumn seasons; but for many years he has
chiefly resided in the United States.

Hill was appointed organist and choirmaster of St. Mary's Catherdal, Sydney, in 1870, in succession to W. J. Cordner;
he was himself succeeded by John Delany, first as chorimaster in 1872, and as organist in 1874.

Many thanks: To Kurt Ganzl (2017) for biographical information.

HILL, Louisa (Mrs. Samuel Prout HILL; late Mrs. ODELL)

Teacher of music, singing, and painting

Arrived Hobart Town, VDL (TAS), by May 1847
Died Hobart, TAS, 19 May 1871, in the 68th year of her age

Constable Finnerty's ears were assailed in the dead of
the night of Saturday last by the screaming of fowls from the henroost of Mr. Minehan, of the Crooked Billet.
From the nature of the sound and the time of night, he conceived that all was not correct, and upon nearing the place he observed a man named
Samuel Hill crossing Rankin-street, and after a little searching about Mr. Minehan's
yard, found the notorious Daniel Torpy, alias Lippey, comfortably esconced [sic] underneath a cart with a fowl under his arm,
which had got there by mistake ... Mr. Minehan was called, - who said that he could not swear
that he had lost any fowls. Hill, he stated, was a musician in his service, and lived in one of his cottages ...
The bench condemned [Torpy] to six months' imprisonment as a common vagrant. The prisoner Hill was discharged.

Robert Spires was brought up charged with using abusive language to Rebecca Rae ...
Samuel Hill, sworn, deposed: Am a musician and live at New Ballarat.
On the Sunday before last, the defendant came to the plaintiff's place. I was having tea at the time.
They had a dispute; he called her a wh-re, and a prostitute. He said that she had written letters to him asking if he would marry her ...

Hillcoat had been a sheep farmer and cattle dealer at Stradbroke in South Australia for several years
when he was declared insolvent in October 1856. His case dragged on until March 1859, and in September
that year a Mrs. Hillcoat, with references from the Lord Bishop of Adelaide,
advertised that she would open a school for young ladies in Maitland, NSW.

In April 1861 she was intending to hold dancing classes, while her husband advertised that, since he was:

not fully occupying his time, offers his services to tradesmen to WRITE UP THEIR BOOKS and to MAKE OUT
THEIR ACCOUNTS.

In August 1862, J. W. Hillcoat first advertised
that he was selling music from his home, and in November opened a new
shop, as "J. W. HILLCOAT, MUSIC SELLER, High-street, West Maitland".

On 4 March 1863, he issued the first number of his series THE
MAITLAND MUSICAL BIJOU, the Night parade waltzes by
Marmaduke Hentry Wilson,
who was to compose the whole set.

He advertised that the August number was not going to be ready until the arrival of the English mail.
In the event, neither nos. 6 nor 7 can be identified.

In mid-November a new Wilson song Good bye appeared, possibly no. 8, and in
December, the unattributed Christmas polka mazurka, was possibly no. 9.

In February 1864, Hillcoat's creditors held a meeting, but in June he and Wilson announced that they had completed the series
with no. 10 Australia, the land of my birth.

No. 11 was Varsovianna [sic]; and no. 12 the Anambah polka.

Hillcoat and Wilson next instituted a new twice-monthly series, "The young pianist's repertoire"
("published on the 1st and 15th of every month; price 1s, to be completed in twelve numbers").
The first number, according to the Mercury, was "a selection from the opera L'Elisir d'Amore,
arranged and marked for fingering by Mr. M. H. Wilson").
But although the first three numbers had appeared by early July, it faltered thereafter.

Probably Hillcoat and Wilson then produced nothing new until the appearance of their last joint effort,
the Nervous cures quadrilles in 1867.

The following particulars have come to hand relative to the late Mr. John Hinchcliff.
It will be understood that he has been residing at Mortlake with two bachelor brothers, Dr. Hinchcliff and Mr. Joseph Hinchcliff.
On Friday evening, Feb. 3rd, the three brothers were at Caramut, at a distance of twenty-three miles from Mortlake.
At this place a concert was held for a charitable object, when Mr. Hinchcliff took a leading part.
It must be observed that this lamented gentleman had latterly improved considerably in his health,
having lost the symptoms of an asthmatic cough with which he was troubled when resident in Geelong.
Of tubercular disease there never had been any trace.
His looks, too, betokened the improvement, for he was as brown as a gipsy, and received on all sides congratulations on his good looks.
This gave him a corresponding elation of spirits, and at the Caramut concert he seemed to feel as one who was rejoicing in the restoration of his former strength,
and as one who was present, remarked, sang magnificently, and in a style worthy of his best days.
Such efforts could not fail to rouse the most phlegmatic audience, and the encores evidently extended the programme.
Twenty-three miles had to be traversed afterwards, and it was half past four before the over-taxed vocalist retired to rest.
He then confessed, as might well be expected, to a feeling of fatigue.
His brother Joseph was engaged on Saturday as one of a Mortlake eleven to play at a cricket match at Terang, when John was to officiate as scorer.
This involved a ride of fifteen or sixteen miles in a direction opposite to Caramut, and at six in the morning Joseph Hinchcliff,
with a consideration that does him credit, left his brother to his unbroken slumbers and proceeded alone to the cricket match.
At eight o'clock the intended scorer opened his eyes to the fact that he had been left behind, an arrangement in which he was not disposed to acquiesce.
A hasty cup of tea sufficed for the breakfast, and by nine he was mounted on a fast trotting pony en route to the cricket match.
When a mile and a-half from Mortlake, his cap, which was not one he usually wore, flew off and the unfortunate man,
who was no adept in equestrianism, pulled up so suddenly as nearly to throw the horse upon his haunches.
He was not prepared for the sudden stoppage, and his momentum sent him over the head of the animal, at a place where the road been newly metalled.
A farmer's wife was standing at the door of a cottage, by the ride of the road, and chanced to watch the whole proceeding.
She at once with characteristic promptness, ran to his assistance, bathed his head, which was bleeding profusely from a deeply incised scalp wound.
He faintly said "That will do, thank you," and then passed into a state of coma, which with one slight exception continued till his death, which took place at 6 p.m. the same day.
Most unfortunately, Dr. Hinchcliff had been compelled to remain at Caramut by a professional engagement;
but Dr. Rodd, of Mortlake, was in attendance, and found that besides the scalp wound there was congestion of the brain, from which the patient never rallied.
He had been brought back to his brother's house when the untoward absence of the family -
for an unmarried sister who usually resides with them was on a visit in Melbourne -
was compensated by the unremitting attentions of Dr. Rodd and the Rev. J. M. Donaldson, till Dr. Hinchcliff could be sent for.
The rev. gentleman mentioned remained till the last struggle, and attended the brothers on their melancholy journey to Geelong.
We may add that on Sunday morning the accomplished organist, Mr F. W. Towers will play the Dead March in Saul, in Christ Church here,
in connection with this event. Other appropriate marches, hymns, &c., will be played in the evening.

A sacred musical festival was given last night at the Victoria Theatre, which was well attended in every part.
The piece de resistance was a Mass Solennelle, No. 3, by Signor P. Giorza, which possesses some merit,
but is by no means equal to many similar compositions. The principals were Miss Bessie Harrison, Signora Fabris, a lady amateur,
Mr. Hinchy, Mr. Wilkinson, Mr. Wilson, and Mr. Flynn, and all of them acquitted themselves with more or less success ...
Mr. Hinchy's tenor is a little thin, but he rendered his parts with considerable care and success . . .

"THE MUSIC AT THE GARDEN PALACE", The Sydney Morning Herald (1 December 1879), 3

... The arrangements were not good,
the seats were in front and behind a platform, on which the pianos were so placed that scarcely a dozen visitors could see the hands of the players,
and the vocalists were obliged to turn their backs on one portion of the audience; Mr. Hinchy's gallantry would not allow him to be guilty of such apparent rudeness,
and he refused under the circumstances to sing.

The first performance in the colony of a work as great as it is unique,
no matter how crude such a performance in itself may be, marks a new era in the musical history of New South Wales ...
Mr. Hinchy, as the Evangelist, had a very difficult, long, and unsatisfactory part.
He began fairly well, but was so evidently overweighted, that long before the close it was painful to listen to him.
The programmes announced that "in order to ensure the success of the performance, Mr. [Sydney] Moss will preside at the pianoforte."
To the conductor of the Musical Union, therefore, fell the task of accompanying the recits.; and, probably with the best intentions,
this gentleman, finding the tenor uncertain in the musical text, very frequently played the correct notes on the piano.
The effect of the two versions being heard simultaneously can be imagined.

"AN IMPORTANT ADDRESS ON THE EDUCATION QUESTION", Advocate (28 November 1885), 9

Mozart's Twelfth Mass, with organ accompaniment, was sung by the cathedral choir, Mr. Hallewell conducting, and Mr. Banks at the organ, the brilliant Gloria,
having a particularly good effect. At the Offertory, Mr. James Hinchy, with exquisite sweetness, sang
Aulagnier's "O Salutaris."

HINCHY. - January 21, at his residence. 142 Burton street, Darlinghurst, James Joseph Hinchy,
aged 46 years (late Accountant and Chief Inspector of the Treasury). R.I.P.
This announcement in the morning papers of Wednesday must have given a shock to the many hundreds in the city who knew and esteemed 'Jim' Hinchy.
When he was a boy at Lyndhurst College, with Mr. J. A. Delany as one of his class-fellows, he was a favourite, and everybody, priests and all, called him Jim.
It was the same when be ran his course as a cricketer in the days of the victorious Warwicks. Jim Hinchy (big-hearted, bright-witted Jim) he continued during his rise
in the Treasury from a junior ship to the second highest position in the department. And during all the five and twenty years he appeared on concert and oratorio
platforms in Sydney as our most accomplished amateur tenor, few ever spoke of him save as Jim.
This was not disrespect, it was an affectionate recognition of his fine qualities and his genial nature.
He was a true type of the educated, courteous, and manly Australian native.
He never deserted a friend, and never made an enemy. For some months past he had been in failing health, but it was not till shortly before Christmas that he showed symptoms of Bright's disease.
It was not a long struggle. His medical advisers, Dr. Jarvie Hood and Dr. Marshall, ordered him to keep to his room a fortnight ago,
and he died on Tuesday night. From the hands of the Very Rev. Dr. Carroll, V.G., he received the last Sacraments, and all the clergy of the cathedral staff visited
him during his last hours. He leaves a widow and four children, the eldest a boy of 19, and the youngest a mere baby.
For many years past Mr. Hinchy has been best known, musically, by his connection with St. Mary's Cathedral as principal tenor.
With comparatively brief intervals, he was a member of the choir for a quarter of a century.
He sang in the Te Deum to welcome Archbishop Vaughan 1873, and he took part in the Archbishop's Requiem in 1883.
He also sang in the Requiem of Archbishop Polding in 1877. He was one of the principal soloists at the opening of the new Cathedral in 1882, and his voice rang out in the Te Deum,
both when the Cardinal arrived as Archbishop in 1884 and when his Eminence returned from Rome with the red hat in 1885.
Mr. Hinchy was also a singer in the Cathedral ceremonies of the two Plenary Councils, 1885 and 1895.
He was in his place on Christmas Day and sang the solos in Gounod's 'Messe Solennelle,' and his last appearance in the choir was on the Sunday following Christmas.
Among those who followed the remains to the grave on Wednesday afternoon were Mr. William Hinchy (son of the deceased),
Messrs. Fred and John Bede Hinchy (brothers), the Hon. George Reid, Premier and Colonial Treasurer; Mr. Kirkpatrick, Under-Secretary for Finance and Trade;
Mr. A. Fraser, Under-Secretary for Justice; Mr. Green, Accountant Justice Department; Mr. J. A. Delany (organist and choirmaster of the Cathedral),
Mr. F. J. Hallewell, Mr. J. H. Rainford, Mr. R. Daly, Mr. W. E. Byrne, C.P.S., Balmain; Mr. Victor Cohen, Accountant Lands Department;
Mr. W. Byrne, B.A., Mr. D. Mullins, Mr. D. Clancy, Mr. W. P. O'Halloran, Mr. W. O'Gorman Hughes, Mr. John Donelan,
Mr. Charles Huenerbein, M. Napoleon Boffard, Mr. John See, M.P., ex-Colonial Treasurer; Mr. James Kidman, and a number of Treasury officers.
The remains were interred in the Catholic portion of the Waverley Cemetery.

Later De Vivo brought out Carlotta Patti. He had struck up a friendship with poor Jim Hinchy in Sydney,
and admiring his voice and style engaged the jovial tenor to sing at the brilliant Patti concerts, which were given in the Theatre Royal.

Edward Hoare's first musical notice was in the payment accounts for the government
Ecclesiastical Establishment for "conducting the psalmody, on Thursday
evenings and Sunday afternoons" at St. Philip's Church, Sydney, between
8 September and 7 December 1825. In this task, he succeeded
John Onions, a convict servant of Edward Smith Hall.

An Edward Hoare was appointed a constable in 1826, but dismissed in April 1828 "for
highly improper conduct".

Edward Hoare was born in the UK on 10 December 1802, the son of John Hoare (b.1860), originally
of Lostwithiel, Cornwall. Edward and his wife, Sarah Marsden, had children baptised at St James (William Edward, 1824), St Philip's
(George Frederick, 1826; Henry, 1829), and again St James (Samuel, 1830; Edward 1832).

Documentation:

"DISBURSEMENTS. ESTABLISHMENT ...", The Sydney Gazette and New South Wales Advertiser (3 October 1825), 1

... [lot] No. 241. By Joshua Holt, gentleman, George-street, Sydney, to 2 Rods 13 Perches, promised to one John Hobbs,
then a Serjeant of His Majesty's 73d regiment, and subsequently drum-major in the 102d, described as follows: situate
on the east side of George-street, in the township of Sydney...

Not to be confused with Sebastian "Bass" Hodge of Bathurst (a cousin), the musician
Sebastian Hodge was the first son of sergeant William Hodge (b. 1811; d. Gundagai, NSW, 1863) of the 11th Regiment,
and himself served in the regiment in Australia, perhaps in the band under its master Charles Stier.
Hodge returned to Sydney with his wife and three children (including William Bass), in 1862.

"By kind permission of Mr. W. S. Lyster", in whose orchestra he was probably playing, Hodge appeared at Eliza Wallace-Bushelle's concert in October
1863, and played an obligato to Anna Bishop in 1868. A prominent freemason and publican, Hodge went by the nickname "Bass" (as so too did
his Bathurst cousins). He continued playing in Sydney theatre
orchestras, and in 1883 was master of a new incarnation of the City Band.

His son William Bass was composer of the patriotic song by She who gives her
son ("words by Stephen Raffo, music by W. Bass Hodge") published in March 1915, active in Sydney into the 1930s.
Note his 1933 recollections of old time singers (including the Bushelles).

WE notice by our telegrams the death of an old Sydney identity, Mr. Sebastian Hodge, a
gentleman who was originally attached to one of Her Majesty's regiments in the capacity of band master, and who since the Imperial troops left
New South Wales had been well known as the proprietor and landlord of the Commercial Hotel in King Street, one of the most respectable
hosteleries in Sydney. Mr. Hodge was also a good and enthusiastic musician, a splendid performer on the clarionette, and a specialist on
that rarely played instrument, the saxophone, which had a telling effect in an orchestra, supplying the gap between the oboe and the bassoon. He
was frequently engaged by the late W. S. Lyster in operatic orchestras, and his loss will be keenly felt in professional and private circles.
Mr. John Hodge of the Bank of New South Wales, Charters Towers, is a son of the deceased gentleman under notice.

Mr. S. HODGE - Everybody in Sydney who wanted to know anything about brass
bands or military music had only to apply to Mr. Sebastian Hodge, at the
Commercial Hodge, at the Commercial Hotel in King-street. He prided himself upon knowing these subjects perfectly; and his pride was well
founded. We have now to record his death, which occurred last Sunday evening after the operation had been performed for the removal of a
carbuncle on his neck. Mr. Hodge came to Australia many years ago as bandsman in the 11th Regiment; and after his term of service in the army
he was appointed drill-sergeant at the Sydney Grammar School. Subsequently, he took over the well-known Commercial Hotel, of which he
was the proprietor at the time of his death. Mr. Hodge was the founder of the once popular city band, and as a clarionet and saxophone player
had not been excelled in Australia. He was president of the Licensed Victuallers' Association, and a staunch Mason. He was 56 years of age,
and left a wife and several children. The remains were buried in the Waverley Cemetery with Masonic honors.

Mr. Sleight, the Superintendent of the Phoenix hulk, we understand, is removed,
owing to some unpleasant circumstances connected with the trans-shipment of the male convicts on board the brig Wellington,
who subsequently became pirates. We furthermore understand, that the Deputy Commissary general have recommended an old
non-commissioned officer in the army, of the name Hodghon, who was for several years drum-major of the 48th,
and has been confidentially employed in the Commissariat for the last four years under Mr. WEMYSS.
The Master Attendant too, we hear, is favourable to Mr. Hodghon, which leads us to hope, in the event of a vacancy,
that the GOVERNOR will be pleases to reward this faithful servant of the KING with a good birth. We can pledge ourselves as to his
competency, and we believe he would make a famous disciplinarian.

The ship Achilles, which arrived from San Francisco yesterday, has brought to these shores a
"complete operatic troupe," comprising the names of Madame Lucy Escott, and Miss Rosalie Durand, sopranos;
Miss Georgia Hodson, contralto; and Madame Ada King, as second donna. The tenor, Mr. Henry Squiers [Squires],
is supported by Mr. Frank Trevor, as second tenor. The baritone is Mr. F. Lester [Lyster]. Mr. A. Reiff is
the conductor; and the whole are under the supervision of Mr. W. L. Lester [W. S. Lyster].
The agent of the troupe is Mr. W. Lloyd. Arrangements are being made for the appearance of
the new company at the Theatre Royal, and we understand they will produce both tragic and comic opera.

A native of Hungary, Hoelzel studied at the Hatam Sofer's yeshivah in Pressburg,
and was a member of Jewish communities at Magdeburg (1836-40).

In March 1841 he advertised a musical work, Israel's Glaube ("gedichtet
und fü Baritonstimme mit Begleitung des Pianoforte in Musik gesetat von Hermann Hölzel,
Oberversänger de israelitichen Gemeinde in Magdeburg").
Later he reportedly served as a reader at Hambro Synagogue in London (1845-52).

He arrived in Hobart in 1853 to become presiding rabbi, but in 1855 moved on to Sydney to become minister at York Street Synagogue.
An interesting document from Hoelzel's later term at Sydney's York Street Synagogue is his commentary on a petition by
Samuel Elyard to be allowed to
"read and explain the Holy Scriptures ... in all Australian and other Churches".

PURKIS and LAMBERT have received instructions to sell by auction, at the residence of the Rev.
Dr. Hoelzel, Liverpool-street East ... in consequence of that gentleman's departure for Europe, The whole of the superior household
furniture and effects, consisting Dining and drawing room furniture Pictures, engravings, A splendid tone pianoforte, by a first-rate maker,
Part of his select and very valuable library ... 200 volumes valuable works.

Hermann Hoelzel, The lecture on the history and use of music, delivered in the hall of
the School of Arts, on the 25th August, 1857 ... to which is annexed ... (2) the music of the celebrated
"Hosannah Hymn", ascribed to King David; (3) the music of "The hymn of the dead", composed in time immemorial; the pianoforte
arrangements to both hymns by the author (Sydney: J. R. Clarke, 1857)

The concert commenced with a grand symphony my Stamity [Stamitz]. Mr. Deane presided very ably at the violin,
Messrs. Brown and Williams (master of the Band of the 63rd) seconds, Mr. Bock and Master Deane
(a young gentleman only ten years old) tenors, Mr. Hoffer, a violoncello, and two horns by excellent performers of the 63rd Band.
This beautiful symphony was performed with the greatest effect, and received with the
warmest applause. ... A beautiful Quartetto from Haydn then followed, by Mr. Deane the Violin,
Mr. Marshall the Flute, Mr. Bock the Tenor, and Mr. Hoffer the
Violoncello. It was admirably executed.

ROYAL VICTORIA THEATRE. Proprietors - Messrs. Lazar and Coppin ... THIS EVENING,
Monday, March 10th, will be performed for the first time at this Theatre, the celebrated Nautical
Drama, in three acts, entitled the FLYING DUTCHMAN or the Phantom Ship, with new
Scenery, Machinery, Dresses, &c. After which, HERR HOFFMAN, the celebrated "JEWS-HARP PLAYER"
from the London Concert Rooms, will make his first appearance and perform several Polka's Airs, &c.

ROYAL HOTEL. MR. SINCLAIR has the honor to announce that he intends giving a
Vocal and Instrumental Concert, at the above Hotel, on THURSDAY, September 8th, when
he will be assisted by the following artistes: Mrs. St. John Adcock, Miss Flora Harris,
Mr. Roby, Mr. Ford, and Herr Hoffman. A. F. FORD, Agent.

A coroner's investigation was held on Saturday, at the Erin-go-bragh hotel, Eureka Street, Ballarat
East, on a fire which occurred there on the 14th inst. After the evidence had been adduced, the jury found
that the fire had been wilfully caused by some combustibles having been introduced beneath the roof of
the kitchen at the rear of the building from the premises of Louis Hoffman, by some person or persons unknown.

Three singing lessons by Mr. Henry Hoffmann have been put into print at the request of
several pupils and many friends. Considering the number and excellence of the many elementary works which are accessible to all learners at a
very low price, we think the publication of Mr. Hoffmann's brochure is rather superfluous.

THE Friends of the late Mr. CHARLES HOFMEISTER, musician, are respectfully invited to
follow his remains to the place of interment, Melbourne General Cemetery. The funeral to move from
M'Grath-place, off Little-Lonsdale-street-east, THIS DAY, at half-past 3 o'clock p.m. JOHN DALEY, undertaker,
Latrobe and Spring-streets, Melbourne.

HOLDEN, William

Musician, composer, journalist, music reviewer

Born Chichester, England, 7 April 1808
Arrived South Australia, May 1838 (per Trusty)
Died North Adelaide, SA, 11 October 1897, aged 89

Holden arrived in Adelaide in 1838 with his friend Jacob Pitman, and June both men were
elected to the committee of the newly formed Adelaide Mechanics' Institution.
Both were also later involved in establishing the New Church or Swedenborgian Society.

In 1848 it was reported that at the society's meetings:

music forms a considerable attraction ... After the singing of a
piece of sacred music, Mr. William Holden next addressed the meeting.

For the Gawler Institute, on 4 November 1859, Holden was one of the four
judges (the others Dutton, Ewing, and Chinner) that awarded the first
prize for musical setting of
The song of Australia to
Carl Linger.

A journalist, and a pioneer of phonography (Pitman shorthand), according to his obituary (1897):

His tastes for music and art were such as to allow the Editor to entrust criticism on these
subjects to him with the utmost confidence. In his way he was a composer, but the fact that he shrank from anything like publicity was
doubtless the reason why his compositions were not published for the benefit of his fellows generally.

A friend, C. Williams also wrote:

To my knowledge more than one of the late Mr. Holden's musical
works have been printed, particularly a fine anthem which appeared in
the Musical Herald. My old friend was an excellent violinist also. He was a prominent member of the
Adelaide Philharmonic Society, where his thorough knowledge
of the art and science of music was often brought into request. At
rehearsals of oratorios his opinion as to how certain passages should be
interpreted will always remain pleasant reminiscences. But, above all,
as a musical critic I never knew his superior, for he was always kindly,
never offensive; just, but never scathing; and he knew what he was writing about.

At least one composition was in fact published, as the musical supplement to Joseph Elliott and Walter Sims's The
Adelaide Miscellany (17 June 1869),
Holy, holy, holy,
"an original Sanctus by Mr. W. Holden, very nicely printed from music types".

His vocal duet Ode to music (words by J. H. Clark) was originally composed for the opening of Adelaide Town Hall,
but was not performed on the occasion, and was introduced to the public by Anna Bishop and Charles Lascelles in June 1868.
Another choral composition O! could I soar from star to star was sung
at Watervale in November 1869, and his new sacred song Adoration was performed in Melbourne in February 1878.

According to her obituary, his daughter Emma Holden:

... will be remembered by many as the writer of many able letters to the Register and of favourite
stories. For many years she was a teacher of music, having studied the piano under the tuition of Herr Heuzenroeder,
singing under Signor Zilliani, and composition and thorough bass under Herr Bertram.
At one time she was organist at the New Church in Hanson-street. The deceased was thirty-three years of age.

She wrote the words for her teacher Hans Bertram's descriptive song
The wind in the trees,
and posthumously, in 1895 a poem of hers served as words of Bertram's
cantata The new year.

[Gerald Marr Thomson] ... Mme. D'Argo [Mrs. J. H. Tillet, of Ibbs and Tillet], who
now prepares professional singers for their career, was originally
popular in Sydney as Hetty Holroyd. About the same time also flourished
Florence Schmidt (soprano), who settled in London, and married the late
Derwent Wood, R.A., the eminent English sculptor. While in her teens
Hetty Holroyd (a pupil of Signor Steffani) won popularity as the soloist
in the revelry scene of "The Sign of the Cross." This young soprano sang
to me at the Pleyel Piano Rooms, George-street, to oblige my old friend
Henri Kowalski, with whom she was studying piano. I pronounced the
timbre to be singularly charming, and predicted that if it developed
with years and good training she would become a celebrity. She sang "Una
Voce," and was then 10 years of age.

Related works:

Twilight of love (words by Gilbert Parker; music by Henri Kowalski; to Miss Hetty Holroyd)
(Sydney: The French Musical Instruments Depot, [1895])

This identification somewhat wishfully assumes that the actor Mr. Hollis entered fully into his role as "Pan
(a Professor of Music, and a Paganini on the Mouth Organ)" in Cupid,
a Mythological, Musical Burlesque by Joseph Graves at Sydney theatre in September 1838.

Documentation:

[Advertisement], The Sydney Gazette and New South Wales Advertiser (15 September 1838), 3

The Performance will commence with (for the first time) a Mythological, Musical, Burlesque
Burletta, by Joseph Graves, Esq., performed at the Strand Theatre upwards of 100 Nights, entitled CUPID ... PAN (a Professor of Music, and a Paganini on the Mouth Organ), Mr. Hollis ...

Born Chelsea, London, England, 18 January 1818
Arrived Geelong, VIC, 19 January 1853 (government immigrant per Steboneath, from Gravesend, 25 September 1852, and Plymouth, 7 October 1853)
Died Brighton, VIC, 1 October 1900

Summary:

According to family tradition (kindly shared by descendents Elaine Race, November 2016, and Leah Windle, June 2017), Charlotte brought with her from England
to Australia a piano that had been presented to her by the king (William IV), but that was later destroyed in a fire
at Brighton; she played harp and pianoforte. William Hollis advertised as a teacher of Latin (and "composer", presumably of Latin verse), but died within
9 months of arriving in Australia, and Charlotte remarried. Charlotte is said to have composed music and was
known sing and play for parties at her Camberwell mansion.

A CARD. MR. HOLLIS, LATIN PROFESSOR and COMPOSER,* late Visiting Tutor in the families of
several Noblemen and Gentlemen in England. For terms, &c., (evening attendance only,) address to the care of Mr. Brown, Victoria Circulating Library, Moorabool-street.
The PIANOFORTE and SINGING taught, in a superior style, by Mrs. Hollis ...

The death occurred at his home, Hilltop Crescent, Manly, on Saturday last, of Mr. Percy Hollis, aged
67. Mr. Hollis was born in Goulburn and resided here for 44 years. He was the
fifth son of the late Henry Hollis, of this city, and a brother of Dr. Leslie
Hollis, who for seven years represented Goulburn in the State Parliament. For
more than 100 years the family have been closely associated with the business
and public life of Goulburn. The late Mr. Percy Hollis played a very important
part in musical circles of Goulburn. At 16 years of age he was organist of the
the Goulburn Parish Church, and later for 23 years, organist of old St.
Andrew's Church. For ten years he was conductor of the Goulburn Liedertafel and
a life member of that body. He later founded the Goulburn Musical and Operatic
Society and was conductor until his departure from Goulburn. Those were days of
great rivalry between the two organisations. Mr. Hollis was a conductor and
organist of outstanding ability, one of the type which is not led away from the
path of commonsense by fleeting fashions in music and style. The same could
fairly be said of his attitude towards life. It was before the days of moving
pictures and talkies' as we now know them, and good amateur performances were as
manna from heaven for the people. Each of the performances would cost anything
from £300 to £400 to produce, a couple of Sydney artistes being brought here to
give the musical comedies just that little extra which would make the performance of one society better than that of the other. Mr. Hollis then
removed to Summer Hill, where he was organist at St. Andrew's for ten years ...

Born Mile End, London, baptised St. Dunstan and All Saints, Stepney, 3 August 1825 (daughter of Aylett and Elizabeth HOLLOWAY)
Arrived Sydney, NSW, 7 June 1853 (passenger per Allandale, from the Downs, 16 February)
Married Edward Percy INCE, St. Philip's, Sydney, NSW, 22 September 1855

Summary:

A Mrs. Holloway, presumably her mother (also Elizabeth), was in March advertising having removed to the same Clarence-street address
as a seller of wools, patterns and cottons.

Elizabeth Holloway, only daughter of the late Aylett Holloway, or Mark-lane,
London, married Edward Percy Ince (1834-1868), at St. Philip's, Sydney, on 22 September 1855.
Their infant first child died in June 1856, Edward was declared insolvent in May 1857,
and Elizabeth advertised again professionally as Mrs. Ince in 1857.
She "aged 30", and her husband "28", were listed in the parish of Holborne St. Andrew, London, in the 1861 English census.
Edward was again declared insolvent in 1867, and died the following year.

AN English Lady, Professor of the Pianoforte and Singing (a pupil of Mr. W. Sterndale Bennett),
having a few hours disengaged, will be happy to attend a family or school. Apply personally, or by letter, free,
to Miss HOLLOWAY, 216, Elizabeth-street North, Sydney.

MISS HOLLOWAY (pupil of Sterndale Bennett) will be happy to have one or two pupils more for lessons in
music and singing, at Clarence-street (one door from King-street) where from nine till three she receives pupils for general
instruction.

EDUCATION. - Mrs. INCE having removed from Macquarie-street to 57, Elizabeth-street (one door from King-street) has VACANCIES in her Select Day
School, or for Pianoforte pupils only. An Evening Class for English, writing, and arithmetic, from 7 till 9.

Holme was a son of Shoalhaven storekeeper Thomas Holme senior (c.1806-1871), of Terara, and his wife Mary Davies (c.1811-1874),
staunch Wesleyans originally from Salford, near Manchester.

He was briefly active musical in Tumut, NSW, in the early 1860s, the rest of his time
that decade evidently spent between coastal Shoalhaven and Goulburn. He was at Goulburn in the early to mid 1870s,
and in August 1882 it was reported that he had been appointed organist of St. Saviour's Cathedral there in succession to James Winney.
He appears to have remained in the post not much longer than the end of that year, and was back at Shoalhaven by March 1883.

In August the local court ordered publicans and others not be supply with alcohol, and in Sydney in May 1884 he stood trial for
the indecent assault of a 14-year-old boy at Cambewarra on 22 February.
The jury being unable to reach a verdict, they were discharged, and Holme was remanded
to prison pending a second trial, though if so it was not reported in the press.

He was perhaps the "T. D. Holmes" [sic] who became active musically again in the Protestant temperance movement in Brisbane in 1885,
and continued so into the early 1890s.

... The concert announced for October 3rd is in aid of the organ-harmonium purchased by the trustees for the new Wesleyan
church; and on that occasion an old friend, Mr. Thomas D. Holme, will delight his hearers with
selections from the best works of the best masters. We are not in possession of details; but from what we can learn the lovers of music may expect a treat.

[Advertisement], The Goulburn Herald and Chronicle (23 September 1871), 5

Mr. T. D. Holme, an old identity in the local world of music here, has again come amongst us, and as a result it is proposed to
form a harmonic society amongst us, who shall entertain themselves and others at times by concerts, &c.

THE Central Criminal Court opened in Sydney on Monday before Judge Innes. Thomas Holme, a music teacher,
was charged with having committed an indecent assault on a lad named Thomas Shepherd; the jury were locked up all night, and being
unable to agree were discharged.

THE miscellaneous concert given by the members of the Blue Ribbon Choir at the Protestant Hall last evening was very successful ...
Mr. T. Ellis acted as conductor, Mr. T. D. Holme as organist, and the pianistes were Mrs. S. Humphreys and Miss M. Davies,
all of whom gave much satisfaction ...

JUST RECEIVED, ex Eagle, and will be open for inspection to-morrow,
FIFTEEN GRAND PIANOFORTES, made by Collard and Collard, and other celebrated makers; an extensive stock of NEW MUSIC,
and a variety of musical instruments, the particulars of which will appear in a future advertisement. Apply to M. HOLMES,
Book and Stationery Warehouse, 23rd March, 1842.

MUSIC. M. HOLMES has just opened a choice and extensive assortment of Music, and
Musicul Instruments, selected expressly for his market by a person of considerable experience - comprising -
Fifteen Grand piano fortes, by Collard and Collard, and other eminent makers; Two splendid violincellos;
Thirty-two violins beautifully finished; Forty-eight bows for ditto; Eight guitars of the newest shapes;
Four Kent bugles; One bass G. trombrone; Four tipt. B. clarionets; Six 8 key'd flutes;
Twelve concert ditto; Eighteen octave ditto; Ten accordions, And a variety of guitar,
violin, and violincello strings. THE MUSIC Is by the most eminent composers,
and only published a short time before the sailing of the Eagle;
it consists of songs, duetts, overtures, marches, quadrilles, waltzes, &c., &c.,
for the different instruments enumerated above. Book and Stationery Warehonse,
Collins-street. Melbourne, March 26, 1842.

The theatrical world will learn with pleasure, that Mr. and Mrs. Clarence Holt,
from the Royal Olympic Theatre, London, have come out in the Oliver Lang,
for the purpose of following their profession in these colonies.
The whole of the passengers, reaching nearly 500 souls, have enjoyed remarkably good health,
and not a single death occurred during the passage.

The farce of "Lola Montez", originally produced at the Haymarket Theatre,
was performed after the play, Mrs. Holt burlesquing the terpsichorean and elocutionary peculiarities of Lola with immense success.
The Spider Dance was an admirable parody of the original, and the speech that followed elicited shouts of laughter.
Mrs. Holt is an excellent farce actress, and also a dancer of no ordinary calibre.

The town has been thrown into a great state of excitement by the perpetration of
a fatal and horrible murder of a young married women, Jane Honey, the wife of Henry Honey, who resided with his father,
Mr. Honey, a musician, at No. 11, King-street. The general belief is that the horrid deed was committed by the deceased's own husband ... [3]
The deceased was about twenty eight years of age, and her husband only twenty two. They had been
married several years, and were living together at his father's house. The father is a respectable man, an an old inhabitant of
his place (Plymouth). The deceased's father has been dead some time. Her mother is living here, and keeps the Rose & Crown
a public house in Old Town-street. Her feelings on the occasion may be easier imagined than described. The father of the
deceased's husband was from home at Portsmouth. General report states that the deceased's husband has for some time past
been leading a gay life. - Plymouth Pap.

A colonist of many years standing, the lithographer and printer Robin Vaughan Hood was directly associated with at least
4 (possibly 6 or more) music prints. He published and probably lithographed Francis Hartwell Henslowe's
The song of the fair emigrant (1854),
The Louis Napoleon polka (1854), and
The Charlie Parker polka, and since the cover of the latter also
mentions that it is the "Midland Grand Steeple Chase Waltzes. No. 3",
Hood may also have been responsible for the unidentified Nos 1 & 2.

Reviewing the Louis Napoleon polka, the Mercury
observed: "Hood has lithographed a cover in a creditable style, but
his execution of the polka itself is not so distinct as might be wished".

His second son, M. L. Hood was co-proprietor, with
John Henry Manly, of Tasmanian Punch
(published from 21 July to 29 December 1866).

A Mercury review identifies him as music lithographer of W. C. Robinson's
Anthem: Hundredth Psalm,
published by J. Walch and Sons in March 1864.
His other work for Walch includes Frederick Buck's
The young recruit march (undated, c. 1865),
and he is positively identified on the cover as the lithographer of
Adeline ("Composed by A. Y. Z. [i.e. "A Wise Head"]; written for the
music by J. R. Betts"), published by Walch in 1867.

... As usual the music was excellently performed, Mr. Edwin Hooke presiding at
the organ, and Mr. H. Hunter leading the choir. The following was the music selected for the occasion: - Kyrie in B flat-Haydn I;
Gloria, Credo, Sanctus, and Benedictus - Van Bree. Agnus Dei in B flat - Haydn I. This pretty little church was built under
the auspices of Mr. Henry Hunter, to whose architectural taste it bears full testimony ...

... Notwithstanding such long service, Miss Reichenberg is still capable of efficiently
rendering such difficult compositions. Her career, like the history of the church in which she has spent so
much of her life, has some interesting associations with the musical history of
Hobart. Her father, Mr. Joseph Reichenberg, who died in 1851, was band-master of H.M. 40th Regiment, and conducted the first
musical concert of which there is a record in Hobart as far back as 1826. In 1841, when the church of
St. Joseph was first opened, he became its first choirmaster and organist, and
among his successors prior to his daughter taking her position were the late Charles Packer, uncle to the well-known
musical family of that name and a musician of the highest degree; also Mr. Edmund Roper, Mr. Hook, and other musicians of 60 years and more ago ...

Gattey Hopkins, "late of the Firm of Hopkins and Sons, of London", first advertised as a
dancing master in Hobart in June 1843. At his quarterly ball in April 1844, his band consisted of Duly, Gautrot, Curtis and Singer, and in
August, "a hornpipe by a young gentleman amateur, a pupil of Mr. Gattey Hopkins, was very much admired ... Master Barfoot".

Hopkins was described "as late of this city", when his daughter Ann Sophia, married
the bandsman and composer, Arthur S. Hill, of the 99th
Regiment, at St. Joseph's Church, Hobart, in April 1854.

A John Gattey Hopkins, professor of dancing, of Cheapside, London, had been insolvent in December 1830.

Documentation:

"INSOLVENT DEBTORS", The London Gazette 18755 (10 December 1830), 2596

GERMAN QUARTETTE SOIREES. The second of the series of German Quartette Concerts, will take place on TUESDAY EVENING
NEXT, the 28th inst., In the large room of the Prince of Wales Hotel. THE Songs will be accompanied by Mr. Buddee . . . To give additional
variety to the entertainment, the Messrs Hore will perform a quartette on the saxe horn, and Master Hore (12 years of age) will perform a solo
on the same instrument.

Musical Entertainment. THE public are respectfully informed that
the Sax Horn Performers, just arrived from England, intend giving an Evening's Entertainment, at the Mechanic's
Institute, on Tuesday, the 11th instant. For particular see the Programme.

HORE. - On the 15th December, at his residence, 102 Dover-street, South Richmond,
Samuel Hore, musician, the dearly beloved husband of Helen Hore, aged 71 years.
Last survivor of Hore's Saxhorn Band in Melbourne, 1849.

... Associations for the promotion of Temperance were formed early in Melbourne . . . land was purchased in Russell Street . . .
and a comfortable Hall erected, in which meetings were held. As it was found advisable to provide attractions for the meetings,
a band of music was formed in 1847, which numbered over twenty performers, and have great satisfaction
on its first public appearance. On each Tuesday evening, when the public meeting took place, the band paraded the
streets for upwards of an hour, and attracted an audience which more than filled the hall . . . The members of the
band were unselfish, and gave the proceeds of their services to the Society for the purchase of new instruments and
towards defraying the debt on the hall. After a time, as Bandmaster Tickle became unsteady, an old Peninsular veteran
named McKee supplied his place until 1849, when the Messrs. Hore arrived in the colony.
They were the first to introduce saxe-horns here. They formed a quartette, consisting of P. Hore, first horn; J. Hore, second;
S. Hore, tenor; and R. Hore, Senr., bass.

Ten more years must pass before Melbourne can celebrate its centenary of band music, according to Mr. Allan Hore,
veteran bandsman and orchestral player, who has been compelled to cast his trombone aside and accept employment in a more
regular form of occupation than in the realms of music. Mr. Hore recalls that his father, the late Samuel Hore, was a member of the
first band established in Melbourne. Known, naturally enough, as Hore's Band, the combination was a first purely a family venture,
formed by Mr. Samuel Hore, his four brothers and their father, who arrived here from the Old Country in 1849. The Hore family
continued to provide band music in Melbourne for many years. Mr. Allan Hore was trombone player in orchestras for J. C. Williamson Ltd.,
mainly at His Majesty's Theatre, for 28 years . . .

HORN, Annette Elise (Mrs. Charles LOWE)

Harp player ("daughter of the late celebrated harpist" [Henry Horn]), pianist

We wish we could speak in warmer terms of the performance on the harp.
The instrument was not precisely in tune, and one if not two of its strings snapped in the playing; and again the piece selected was not so popular
as might have been chosen, so that Miss Horn laboured under disadvantages which even Bochsa himself might not have succeeded in
surmounting. To our mind the harp is always heard to best advantage in combination with the piano, and an air such as the "British Grenadiers"
arranged as a duet for the two instruments would, we make no doubt, have been as popular as any part of the evening's entertainment.

"SIGNOR CUTOLO'S CONCERT", The South Australian Advertiser (16 June 1859), 2

Tarago. The Referee announces the death, at the age of 76, of Mrs.
Charles E. Horn, widow of the composer of "Cherry Ripe." Mrs. Horn was
a sister of Miss Priscilla Horton (Mrs. German Reed), also sister
of the late John Horton, many years of Goulburn, and aunt of John
Horton, now of Tarago; and in early life she was a popular
opera singer. For more than half-a-century she had resided in the United States.

Described in his death notice as "of Hamburg, Germany", this probably precludes a near
relationship with the German-English Horns,
Charles Frederick Horn (1762-1830), born in Nordhausen, and his English-born
son Charles Edward Horn (1786-1849).

He may be the Dr. Horn who was a teacher of modern languages at the King's School, Parramatta, in 1857, though
perhaps more like the Dr. H. Horn below (or, perhaps, they were the same person).

A glee Tell me not by "Dr. Horn" sung in a concert at Maitland
in 1858, when our Charles was already living there, was probably a version of the song
Tell me not in sorrow by Charles Edward Horn (not a Dr.), whose popular compositions were anyway
regularly sung in Australia, and some also published, notably the ballads
Long time ago and
My dark hair'd girl,
and the duet I know a bank whereon the wild thyme grows,
all first issued in the colony by Francis Ellard in Sydney.

None of the German-Australian Dr. Horn's musical works were published
or are otherwise known to survive, though he introduced two at his own
concerts: in December 1860 There is a happy land ("hymn
... composed by Dr. Horn for three voices"), and in March 1865 a Magnificat ("composed by Dr. Chas. Horn, conductor of the
choir, and produced on this occasion for the first time").

Horn was billed as "Leader of the orchestra" for a performance of Messiah by Sydney Choral Society in December 1871.

A movement has been started by some of the old pupils of Dr. Charles Horn, who has been prominent
as a musician and teacher in the colony for 25 years, to present him with a testimonial in recognition
of his services to art in that period. It is difficult to estimate the value of such work
by a conscientious teacher in a young community, and that those who have profited by
his knowledge thus recognise their obligation is creditable to all, particularly as
the highest class of teaching is by no means that which is best paid. Mr. W. Neill, manager of
the City Bank, is the hon. treasurer, and the promoters include many well-known ladies and gentlemen.

In the 1830s and 1840s a composer of popular songs and piano pieces widely published both
in England and the United States, Horncastle had been "Principal Tenor of Her Majesty's Chapel Royal" before arriving at
Adelaide in January 1847.

As well as presenting the first of his popular entertainments, he advertised copies of his Music of Ireland for sale,
and offered his services as a teacher and piano tuner. George Coppin engaged "Professor Horncastle"
for his New Queen's Theatre.

He arrived in Sydney in early July, and soon began his series of Lectures on Music and entertainments at the
School of Arts, at the seventh of which, in mid-September, he was assisted by local singer
James Waller, who was to remain a close associate.
Toward the end of that month he also appeared at John Philip Deane's concert.

In April 1848 he advertised

to his personal friends that, in consequence of repeated accidents, losses, and vexations, he has become
a confirmed invalid-he therefore cannot continue his usual
entertainments, but will attempt one he calls justly INVALID MUSIC.

Having, nevertheless, by May, "materially renovated his health by a
residence in the country", he was able to continue his activities for a
while; he toured to Goulburn, and in July to Maitland with Abraham and
Elizabeth Emanuel as co-artists.

TROVE user Archivist1788 discovered: "Horncastle's health led to his admission to Gladesville Hospital on 14 August 1848 (SRNSW: [4/7654
fol.269-270]).

Thereafter, Horncastle went into retirement as a permanent resident at Waller's Sir Joseph Banks Hotel at Botany
Bay, until the announcement in the Herald of his "sudden
death ... from natural causes" there in January 1850.

Many of the anthems which are performed in the cathedral are selected from
Handel's works, for which the present organist, Mr. F. W. Horncastle, as well as his
predecessors, doctors Jones and Clarke, and Mr. Langdon, seem to have entertained a strong and well-founded predilection.

"SKETCH OF MUSIC IN LONDON", The quarterly musical magazine and review 5 (1823), 265

... A young professor (we believe from the neighbourhood of Bath) a Mr. Phillips,
is also rising into notice; and the corps of glee singers, in private concerts especially, enjoys a
most useful acquisition in Mr. Horncastle, a tenor - who possesses a philosophical as well as a
scientific understanding of his profession.

"HORNCASTLE", in A dictionary of musicians from the earliest ages to the present time ... vol. 1 (London: For Sainsbury and Co., 1824), 376

[63] ... Mr. Bishop's regular troops consisted of the principal English vocalists of the theatres, with
Miss Farrar, Madame Cornega, Mr. Horncastle, and Mr. E. Taylor; occasional assistance was
given by the Italians, who were indeed only Signora Toso and Signor Zuchelli, and these
but for very few nights ... [64] ... We have often heard it stated by experienced persons, that the
oratorios have been the most flourishing nursery of English singers, from the diversity and the
exercise they offer, and from the introduction to the most numerous and extended audiences. Hence
we expect to find fresh aspirants every season, as well as the gradual advancement of those whose
first efforts have obtained them a place and standing. Hence too we may notice that Miss Love,
the Misses Cawse and Miss Farrar, whose natural endowments, aptitude, and industry, promise
so much, are in this state [65] of gradual progression and encouragement. Mr. Horncastle alone
seconded Mr. Braham this year, and he unquestionably bids fairest to become the successor to
the honours of the first tenor at the classical concerts of the country, wherever there shall
be an opening. His voice improves in volume, and his style both in polish, force, and effect ...

... Horncastle's entertainments, on the Music of Ireland, are rather too
diffuse in their plan; and though they open a wide field for illustration, their literature is
defective, from the want of coherence in the design and some strong and common centre of
attraction. The nice work of dovetailing lecture and song so as to occupy two hours with
full justice and effect to each, is rarely well performed. Mr. Horncastle seems to have
depended mainly on a considerable stock of national music, much of it derived from peculiar
sources, which by means of his assistants, Miss Porter, Miss Cobitt, and Miss Le Roy, he is
able to serve up in considerable variety. Not to lose opportunities for his music, he frequently
curtails his reading to such a degree that but for the form's sake we could wish it wholly
omitted. Could he borrow some of Wilson's literary tact, and lend in return some of his more
ample means of illustration, the lectures of both would be improved. With a voice of limited
power and peculiar quality, which must ever prevent him from taking a high rank as a
solo-singer, Mr. Horncastle deservedly possesses the reputation of being one of the best
musicians extant among the vocal profession. His taste and skill in arranging parts were very
agreeably shown in the three-part harmony which represents the chorus or burden to songs
of the Trades in Ireland ...

Mr. Horncastle gave the first of a series of Vocal entertainments at the New York Society Library,
on Wednesday evening last. It consisted of a lecture, interspersed with songs, on the vocal music of lreland, and the subject
was handled by him in a very masterly manner. This gentleman is more than merely a vocalist. He is a man of research, of feeling,
and expression, and his songs which are charming illustrations of his text, are both captivating in themselves, and given
in the style of a master in the vocal art. The vocalism of the Irish school does not require a very extensive compass, but
a clearness, smoothness, and eveness of intonation are absolutely indispensable, and those qualities he possesses in a very
eminent degree. Besides these, he has the property of accompanying himself on the Pianoforte in a way that we have
never heard equalled except by Mr. Horn, and his skill in this matter greatly enhances the beauty of the performance ...

"LECTURES ON MUSIC", Morning Advertiser [London] (31 July 1846), 3

Mr. F. W. Horncastle delivered the first of a series of lectures, on Wednesday evening, on English melody,
in the London Mechanics' Institution, Southampton-buildings, Chancery-lane, which was most numerously and respectably attended.
It is needless to observe upon the great improvement which lectures such as these must ultimately confer on those for whose benefit they are intended;
and while we hail with pleasure their introduction into so many literary and scientific institutions,
we cannot conceal the extreme gratification it afforded us on this occasion in witnessing so numerous and so attentive an audience.
Mr. Horncastle acquitted himself a lecturer with great credit; his delivery, though perhaps little too rapid, was, nevertheless,
clear and audible, and in elucidating subject certainly interesting in itself to all who heard him. He introduced with considerable tact,
and told with great humour, several anecdotes, which tended to amuse well as to instruct.
The lecture was illustrated by that most popular of all practices - a song of the particular period on which he dwelt, or the ballad poetry
to which he called the attention of his audience; and in this he was most ably assisted by Miss Thornton and Miss Cubit,
who sang the songs appropriated to each, not only with great scientific skill, but peculiar pathos and sweetness.
Much credit is due to Mr. Horncastle for introducing the ballad poetry of England to public notice, by so amusing and,
at the same time, so peculiarly instructive, a method as that of a lecture, when the manners of the period of which he treats,
and the music that charmed the generations that have gone before us, are rendered familiar to all by the course which he has thus adopted.
The lecture of last evening was opened by an introduction, in which the lecturer described, with graphic powers of no ordinary description,
the ancient customs of "Merrie England," - the practice adopted in partaking of the "Wassail Bowl," - the merry gatherings of young men and maidens,
to greet the approach of a May morn, and to welcome it with joyous and merry greetings, with the innocent, though sometimes boisterous,
ceremonies around the May-pole. These are topics which could not fail to produce a deep and impressive interest, for however rare
the practices alluded to have now become, particularly in large and crowded cities, there are none of us who can fail to remember
the days when such scenes took place, amid the wild and joyous merriment of the young, and the sober, but, nevertheless,
decided approbation of those who had themselves been similarly employed in the morn of life. Mr. Horncastle then dwelt on the
minstrels and ballad-singers of the olden time, and, as we have already observed, was ably assisted by the young ladies,
who sang with so much taste and judgment the lays of the mountain, the counties, and the peasant.
The hunting songs were given with great effect. The ballads of England not possess that wild and melancholy plaintiveness
which characterise the wayward but sad music of the sister isle; nor are they sweet, either in melody or composition,
as those of Scotland but they are, nevertheless - we take it correct - living representations of the manners and habits
of those by whom they were cherished. The second part of the lecture contains a dissertation on the music of England
in the time of Elizabeth, and most instructive exposition of Henry Law's [Lawes's] ballad-operas, in which the lecturer humorously,
but truly, caricatured that absurd practice, which exists now in other days, of crying up every description of music which is wedded to a
"foreign language." The song of "Mad Tom' was given by Mr. Horncastle with great effect, and "The Lowly Suit," in which he was accompanied
by the two ladies with singular sweetness. A curious old song, called "The Hunt is up," finished the evening's performance;
but we are glad to perceive that Mr. Horncastle has announced his intention of giving a second lecture in continuation of the same subject, on Wednesday next.

"SHIPPING INTELLIGENCE", South Australian Register (27 January 1847), 3

MR. HORNCASTLE wishes to dispose of some Manuscripts, and printed Music
Manuscripts, chiefly of his own composition; also literary articles
written to suit popular taste. The music combines Purcell, Handel, Arne,
Loder, Rossini, Callcot, &c, Glees, Catches, Duetts, and Scenas. Royal Hotel, Friday, October 17.

Mr. Frederick William Horncastle, whose interesting lectures upon
music must be remembered by many of our readers, was on Monday found dead on
the floor of his bedroom at the Sir Joseph Banks Hotel, Botany, where he was at the time residing. An inquest was held upon the
body yesterday, and an opinion having been expressed by Dr. Tierney that death had been occasioned by the rupture of a blood vessel, a
verdict of death from natural causes was returned.

At the Sir Joseph Banks Hotel, Botany, on Monday, the 21st instant, after a few days' illness,
Mr. Frederick W. Horncastle, Gentleman of Her Majesty's Chapel Royal, and well
known to this community as an accomplished vocalist and musician.

The music of Ireland, as performed in Mr. Horncastle's Irish entertainments in which are introduced the Bardic & Connaught Casines,
songs, fairy chant & songs, rural ballads, songs of occupation, marches, jigs &c. harmonized & arranged with an accompaniment for the harp or
piano forte, by Fredk. Wm. Horncastle, Gentleman of Her Majesty's Chapel's Royal (London: Horncastle, 1844)

Review: "THE MUSIC OF IRELAND AS PERFORMED IN MR. HORNCASTLE'S IRISH ENTERTAINMENTS",
The Athenaeum 906 (8 March 1845), 251

Born London, 1790?, died 1850. Horncastle was a chorister of the Chapel Royal,
London, and then organist of Stamford Hill Chapel and Berkeley Chapel,
London. III He was appointed organist of Armagh in 1816. Evidence
suggests that he became a little careless in his attitude to his duties,
absenting himself frequently to make excursions to Warrenpoint and
Rostrevor. These absences together with Horncastle's unwillingness to
take part in weekly choral concerts in the Music Hall led to a dispute
with Richard Allott. Further problems of the same nature led to a
visitation held by the Archbishop in November 1822, purely to conduct a
disciplinary hearing. Subsequently certificates of expulsion bearing the
Primate's seal were fixed to Horncastle's residence and the Chapter Room
door at the cathedral: "Therefore We, John George, Archbishop aforesaid
and Visitor of said College of Vicars and Organist, on account of the
turbulence, contention, insolence and contumacy of said Frederick
William Horncastle do pronounce and decree that the said Frederick
William Horncastle be removed from his said office of Organist and Master
of the Choiristers [sic] and that the licence or Patent heretofore
granted to him be revoked, cancelled and declared null and void, the
peace and good order of said College of Vicars in said Cathedral so
requiring." His expulsion from his post is unique at Armagh. The
correspondence, charges, dismissal etc. are preserved in a collection of
letters in the Public Record Office of Northern Ireland. Horncastle
returned to London and became a gentleman of the Chapel Royal in 1826.
He was composer of a mass, glees, songs, pianoforte pieces, etc. In 1828
Horncastle collaborated with T. Cooke, Stansbury, Parry, Clifton and
Taylor in a work entitled "The Passions" for the Melodists' Club.

Horne wrote librettos for four historically significant Australian musical works,
The South Sea sisters, a "lyric masque", set to music by Charles Horsley for the opening of the Melbourne Intercolonial
Exhibition in 1866; a Threnody in memory of G. V. Brooke,
set to music by Joseph Summers in the same year; the cantata
Galatea secunda, with music again by Summers,
celebrating the arrival of prince Alfred in 1867; and, for composer Carl Schmitt,
a three-act opera Cazille, excerpts only from which were first performed in concert in Sydney in 1872.

Horne also appeared in public as a singer and guitarist and occasional pianist. Not for the first time (see July 1855 below), at a
benefit for the actress Mrs. Brougham at Melbourne's Theatre Royal in
November 1855, it was advertised that "R. H. Horne, Esq., will Sing
a Spanish Romanza and Serenade", evidently a personal favourite (as
much later attested by Gosse), for yet again in Melbourne in March 1869,
only shortly before he left Australia finally to return to England, The Argus reported:

Mr. R. H. Horne sang a Spanish serenade with much
feeling and expression, accompanying himself on the guitar very
skilfully but the song did not seem to be appreciated by all present.

A musical "drawing-room" entertainment (also advertised as a "literary
and musical lecture on national songs") he gave at the School of Arts in
Sydney in December 1862 was reviewed in the Herald:

In a brief introductory address Mr. Horne stated, in
explanation of his falling into the autobiographical vein, that he had
travelled through many foreign countries, and had always taken an
interest in learning their characteristic songs. He would have liked to
have given some of the patriotic songs of those countries, but as they
would produce very little effect without an orchestra, be must give up
the thought of singing them. Mr. Horne proceeded to give a selection of
the characteristic songs of different nations, accompanying himself upon
the pianoforte or upon the guitar. The first of these was a German song
entitled "Alexi", describing a lady sending a love message by a bird,
which was followed by a German Student's duelling song. The next
performance, which was a canzonetta, the words and music by Salvator
Rosa, the celebrated painter, was stated by Mr. Horne to have been
selected for the purpose of trying the acoustic properties of the hall.
The piece, which affords good scope for vocal display, was sung with
much power and animation ... As a further test of the acoustic
properties of the hall, Mr. Horne gave a solo on the guitar, "The Last
Rose of Summer" ... Other pieces in the first part of the entertainment
were a Spanish fantasia "Vamos a las montanas", the Welsh song "Of a
noble race was Shenkin", and a Tyrolese song. After a short interval Mr.
Horne gave, with the guitar accompaniment, the Quirka Marjorr, a Mexican
song dance, and described the dance as he had seen it at the Government
balls at Vera Cruz, the effect being extremely brilliant and romantic ...

In The Southern Cross in December 1859, he also published a "Chinese Song".

Mr. R. Horne subsequently made his appearance in a Spanish costume, and sang a very
pretty romance in that language. Although deficient in vocal power, the singer imparted such an exquisite delicacy of finish to his execution of
the graceful melody he sang, that the audience complimented him by demanding an encore, and the morceau which Mr. Horne substituted was
similarly treated. In addition to manifesting considerable ability as a singer, Mr. Horne proved himself, by his guitar accompaniment, a good
musician.

He had been baptized Richard Henry Home, but in late middle life he had changed the
second of these names to Hengist. It was in 1874 that I set eyes on him
first, in circumstances which were somewhat remarkable. The occasion was
the marriage of the poet, Arthur O'Shaughnessy, to the eldest daughter
of Westland Marston, the playwright. There was a large and distinguished
company present, and most of the prominent "Pre-Raphaelites," as they
were still occasionally called. In the midst of the subsequent
festivities and when the bride was surrounded by her friends, a tiny old
gentleman cleared a space around him, and, all uninvited, began to sit
upon the floor and sing, in a funny little cracked voice, Spanish songs
to his own accompaniment on the guitar. He was very unusual in
appearance. Although he was quite bald at the top of his head, his
milk-white hair was luxuriant at the sides, and hung in clusters of
ringlets. His moustache was so long that it became whisker, and in that
condition drooped, also in creamy ringlets, below his chin. The elder
guests were inclined to be impatient, the younger to ridicule this
rather tactless interruption. Just as it seemed possible something
awkward would happen, Robert Browning stepped up and said, in his loud,
cheerful voice: "That was charming. Horne! It quite took us to 'the warm
South' again", and cleverly leading the old gentleman's thoughts to a
different topic, he put an end to the incident ... This scene was very
characteristic of Horne, who was gay, tactless, and vain to a remarkable
degree. ... When he came back from Australia, I think about 1869, he was
in very low water. He had managed very deeply to offend Charles Dickens,
who had taken up the cause of Horne's neglected wife ... A little later
Robert Browning, who had always felt a sincere regard for Horne, was
able to be of practical service to him. ... In these days one used to
meet him at afternoon parties, carrying with great care, under his arm,
the precious guitar, which he called "my daughter", and was used
ceremoniously to introduce as "Miss Horne". A little later in the
evening Home would be discovered on a low stool, warbling Mexican
romances, or murmuring with exaggerated gallantry to the prettiest girl
in the room. All this time he was thirsting for publicity - if he could
only be engaged to sing in public, to box in public, to swim in public,
how happy he would be!

Disambiguation: Many
colonial performances of works by his father
William Horsley are documented,
beginning with the song The tempest in the Sydney
Amateur Concerts in 1826, and up to, for instance, at Charles Horsley's
own concert in Melbourne in March 1863, when "Two well-known glees by
Mr. W. Horsley, the father of Mr. C. E. Horsley, By Celia's arbour, and
See the chariot at hand, were given in a style worthy of the composer.
The former is one of the loveliest glees over written".

On Saturday afternoon, the first of a series of four instrumental concerts,
arranged by Mr. Horsley, a gentleman lately arrived in Melbourne, took place at the Mechanics' Institute, Collins street. The first piece
selected was one of three quartets composed by Mozart, in G minor, in which the piano is one of the instruments. It was performed by Messrs.
Horsley (piano), King (violin), Thomas (viola), and Reed (violoncello). The music is of a character rather classical than generally pleasing,
though in the rondo movement the ear is delighted with the beauty of the modulations introduced. The piece, on the whole, was well played, but
would have been better for more distinctness and less sound in the piano passages. The violin part had scarcely justice done to it. The piano
generally was too loudly played, and Mr. Horsley does not seem entirely free from the very general error to which pianists are liable of forgetting the greater power and compass of their instruments as
compared with the others, and by which these last are placed at a disadvantage. The difficulty and art of stringed instrument playing is
to bring out the tone satisfactorily, whereas the greater amount of tone, or noise, with the piano, is often exhibited by the most
inexperienced performers. While making these comments, however, we must not omit to state that many passages in this and the other pieces were
played by Mr. Horsley with much delicacy and neatness. The next pieces were selections from Mendelssohn's beautiful "Songs without Words,"
played on the piano by Mr. Horsley ... The third piece was a quartet for two violins, viola, and tenor, a selection in which, next to the
quintet, the most perfect balance of sound is preserved. It was one of Haydn's in G major, known as including the best of his minuets and
trios. The quartet was performed by Mr. King, first violin; Herr Strebinger, second violin; Mr. Thomas, viola; and Mr. Reed, violoncello,
and would have gone off much better, to our thinking, had the second violin changed places with the first. It is difficult to perceive why so
accomplished a violinist as Herr Strebinger should play "second fiddle" to any artist at present in Melbourne, and although such arrangements
may sometimes be done simply that each performer may have a turn, yet the public have a right to expect the best man will be placed foremost,
as they do not meet to hear how this or that gentleman can do this or that, but how the composer's music may be best rendered. The next piece
is known as the "Moonlight Sonata" of Beethoven. Mr. Horsley's rendering of this difficult piece was very fair, but the most brilliant and
finished touch is required to bring the creation of the composer's genius to the mind's eye. The concert concluded with Mendelssohn's trio
in D minor, by Messrs. Horsley, Strebinger, and Chapman ...

[Charles Wehle] ... Having
no local interest to guard, and no part to take - Mr. Horsley having no
rival - I may say, without fear of having my opinion misinterpreted, that
he is, without any doubt, the greatest musician in this part of the
globe; and the colony of Victoria may and should congratulate itself on
the possession of an artist of such value.

"MR. KENDALL'S NEW VERSION OT EUTERPE", The Argus (5 September 1870), 6

By the mail steamer Bangalore news has been received of the death of Mr.
Charles Edward Horsley, the well-known musician, on the 2nd of March [sic], at New York, where he had been living for the last two years.
Mr. Horsley received his musical education in London, and arrived in Melbourne about 15 years ago, and at once took a leading position in the
musical world. Shortly after his arrival he succeeded Herr Elsasser as conductor of the Melbourne Philharmonic Society, and he was so earnest
in his endeavours to make the society take a leading position, that he succeeded in giving it the prestige which it has ever since maintained.
During this time he had a large musical practice in the city, and when the Intercolonial Exhibition of 1866 was proposed, he was engaged to
compose a cantata. This he did, and it was performed with great success.
The cantata was named the "South Sea Sisters", and the words were written by Mr. R. H. Horne, the author of "Orion".
One chorus in the cantata, viz., the "Corroboree Chorus', has since been frequently performed in Melbourne, and always with success.
Mr. Horsley was of an easy genial disposition, and by some means he got into difficulties, and about 1868 left Melbourne for Sydney.
He was not at all successful there, and he decided upon again returning to Melbourne.
Here he obtained the appointment of organist to St Francis' Church, was not so successful as he desired, but when the new Town-hall was opened,
during the mayoralty of Mr. S. Arness, he was engaged to write a cantata for the occasion, and "Euterpe" was produced. In the
following year Mr. Horsley left by the s.s. Great Britain for England, and settled down in Liverpool.
About two years since he went across to New York, and obtained the appointment of conductor to one of the oldest musical societies in that city.
He also obtained the appointment of organist to St. John's Church, which he held at the time of his death.

The South Sea sisters, a lyric masque written for the opening of the Intercolonial Exhibition, op. 73 (Melbourne, 1866; words:
R. H. Horne), Melbourne, 24 October 1866; original 1866 edition of the words only

In the summer of 1832 I saw Mendelssohn for the first time. I was then a
mere child barely ten years old, but I well recollect the occasion. My
father's house was the rendez-vous of all great artists both English and
foreign, and invitations were immediately given to all who either
brought letters or were introduced to my father by his numerous
professional friends. My father himself, the most distinguished Glee
writer and soundest musician that England has yet produced, was the most
genial host, and it is to his constant desire to collect around him all
that was good and great in his own profession, as well as the cream of
the painters and literary men of the time, that his children owed the
privilege of seeing all those whose genius and talent so largely
contributed to the art progress of England since the commencement of the
century. Thus among the musicians constantly at the house, were
Moscheles, Hummel, Paganini, Mendelssohn, Spohr, Thalberg, Benedict, Sir
George Smart, Mr. Neat, Mrs. Anderson, and many others; amongst the
painters, Sir Augustus Calcott (my mother's uncle), Sir Thomas Lawrence,
F. R. A., Collins, Wilkie, Etty, Redgrave, Mulready, Webster, Stone,
Dyce, Sir W. Boxall, Uwins, &c. Our most intimate friends in literature
were Dr. Rosen, the celebrated Oriental scholar, Carl Klingemann, the
Secretary to the Hanoverian Embassy, Mr. H. F. Chorley, Hogarth, &c.,
&c.; and of the engineering celebrities, we constantly saw the Brunels,
father and son, the latter having married my sister in 1836. Thus I may
truly say that I and my family were constantly surrounded by an
atmosphere of art, literature and science; and to this fact is of course
traceable the great love of Music and Painting which seems almost
hereditary amongst us.

Horsley, Charles Edward, composer and
organist, son of William Horsley, was born in London, December 16, 1822.
He studied under his father, Moscheles, and at Leipzig under Hauptmann
and Mendelssohn. Organist of St John's, Notting Hill, London. He went to
Australia in 1868 [sic], and afterwards settled in the United States. He died at New York, May 2, 1876. WORKS. Oratorios: David,
Joseph, Gideon: Glasgow, 1860; Comus, cantata for solo and chorus
(Milton), 1874, Impromptu for pf., op.12 , Trio, No. 2, for pf ., viola
and cello, op. 13; Sonata for pf . and cello (1844); Quartet for
pf. and strings, 1845; six Lieder for voice and pf., op. 21, Anthems,
Pf.pieces, various, Songs, part-songs, etc. Text-book of Harmony for
schools and students.

It appears that the efforts of the anti-musical members of the Committee of the
Mechanics' Institution have not hitherto, at all events been successful; as tomorrow night the usual concert
is to be given, the programme containing many features of novelty.
PART I ... Ballad - Mrs Houghton, "Scenes that are brightest," Balfe [sic]
Pupil of the Royal Academy, London ... PART II ... Song - Mrs. Houghton, "Tell me my heart", Bishop ...
Scena - Mrs. Houghton, "Al Dolce Guiami," Donizetti ...

Mr. Blythe Waterland, Mr. C. V. Howard, Mr. G. B. Howard, and Mr. J. W. Reading,
have given two concerts at the Royal Hotel, which have been remarkably successful. This company has the merit of being the first that has
brought the peculiarities of the "Nigger", in a contracted way, before the Sydney public ...

A musical entertainment, consisting of literary reminiscences and illustrations of
Moore's Irish Melodies, will be held tonight at the Exchange Hall, Dr. J. J. M'Gregor being the chief performer. The services of Mr. Brookes, the
celebrated harpist, and of Mr. Cordner, have been secured ... We observe that the arrangements have been left to Mr. Charles V. Howard, which is
in itself a fair guarantee of success.

The orchestral work was greatly admired, and a beautiful solo for the clarionet, which Mr. Howard gave
with that purity of tone for which his playing is remarkable, was redemanded and repeated, to the great satisfaction of the audience.

[News], South Australian Chronicle and Weekly Mail (18 August 1877), 12

Mr. James Howard died very suddenly last evening.
To all who have been patrons of opera in Melbourne for the last five years,
Mr. Howard was known as the first clarionet player in the orchestra,
and was admired in that position as an artist who could produce a tone quite soft and musical
from an instrument which is generally regarded as the most intractable of all.
Henry Lazarus, the greatest of masters, would have listened to him with approval.
Mr. Howard was playing on Thursday night in the opera of "Faust," and his share of the instrumental performance on that occasion
was marked by those who watched it with consummate grace and masterly finish.
At about 6 o'clock yesterday evening he had an apoplectic seizure in the Victoria
Hotel, where he resided, at the corner of Lonsdale and Russell streets.
He lived in an unconscious state for about 20 minutes, and then died.
Mr. Howard leaves a widow and children in Sydney.
The suddenness of his death was a great shock in more than professional musical circles.

Reportedly "a German", "Samuel Howitz" was allegedly victim of an assault in Adelaide
on 26 December 1849; according to the court report Howitz, "described himself as a merchant, but seems also to be a hawker and music master".
A "Horwitz, Samuel Julius, Adelaide, Confectioner" appears in a later list.

Documentation:

"LAW AND POLICE COURTS", South Australian Register (1 January 1850), 3

Last evening (Monday) Mr. Hudson, a celebrated Irish vocalist and comedian,
was to have given an entertainment in the Oddfellows' Hall, in connection with the Gawler Institute,
but in consequence of the Havilah's late arrival from Melbourne, in which Mr. Hudson was a
passenger, he was unable to get his luggage from her in time,
and therefore his first appearance will take place to-night,
when it is hoped that the exertions of the Committee in obtaining the services
of this talented gentleman will be duly appreciated by the peopla of Gawler.

. . . the first appearane did not came off until last evening, when, I am very glad to say,
a large audience assembled to hear him. Mr. Ignaz Roitzch presided at the piano.
Mr. Hudson, who is exceedingly humorous, kept his audience in a state of laughter during the greater part of the evening.
He was loudly cheered and encored when appearing in the character of Paddy O'Rafferty, as also were severa1 of the songs he sung.
His account of "Paddy's Journey to Naples," and "Horticultural and Floricultural pursuits, illustrated by a Mrs. Gardener"
- a Gardener by name and also by nature - was highly interesting, and called forth loud applause from the audience.
At the conclusion of the first part Dr. Nott announced that Mr. Hudson's second entertainment would take place about the end of next week.
Mr. Hudson took his departure for Kapunda this morning.

MUSIC, DANCING, FENCING, DEPORTMENT, CALISTHENICS, AND ITALIAN EXERCISES.
MONSIEUR THEODORE. F. HUE, PROFESSOR AND ORGANIST. (Eleve de la Conservatoire de Paris.)
MOST respectfully begs to announce to the Ladies and Gentlemen, Heads of Establishments and Inhabitants of the City
of Melbourne and its vicinity, his recent arrival from England, and his intention of
establishing himself as a resident Master in the above professions : and trusts that from
the long experience he has had in the above professions under his Father, Monsieur
Louis A. Hue, (with eleven years instruction at the Conservatoire Royal a Paris,) he will
be enabled by punctuality and unremitting attention, to prove himself worthy of the
patronage of those who honor him with their support.
Dancing Taught in six Lessons.
By a peculiar system, invented by his
Father, so as to enable any Lady or Gentleman to dance with ease, gracefulness and
perfect credit to themselves, in any of the Fashionable Dances, Quadrilles, Polkas,
Waltzing, &c., which no other teacher in the same Profession can accomplish except
on the same system, which Monsieur Hue is perfectly aware is not known to them.
The newest and most Fashionable Dances, as taught by the most eminent Professors
in Paris and London :-
La contra Danza Espagniola; Neapolitan Galop; the graceful Redowa Valse; Valse
à Cinq Temps; the New Sauteuse à Trois Temps; Sauteuse à Deux Temps; Valse
à Deux Temps; Valse Cellarius; Valse Hongroise; Neopolitan, French, German,
English, Russian, and Spanish Waltzing; Mazourka Quadrilles; Russian Mazourka;
Polka Quadrilles; Polka; Germam Polka; Bohemian Polka; Minuet de la Cour; and
Gavotte de Vestris; Quadrilles, Lanciers, Gallopade, Hornpipes, Scotch Reels, Irish
Jig, the correct Scotch Highland Fling, with a variety of Fancy Dances.
Monsieur T. F. Hue begs to state that in the Musical Department he undertakes to
qualify pupils in Thorough-Bass, Counterpoint and Composition, so as to enable the
scholar to acquire any or each of the following instruments of which he is a Master : -
Piano, Organ, Guitar, Violin, Violincello and Tenor; and he trusts that the fact of
his style and system being formed under those celebrated artists belonging in the
Academie Royale à Paris, will be sufficient guarantee for his competency. The science
of Music with Piano, Organ and Violin unders Messrs. Kreutzer, Cherubini, Rode
and Baillot; Guitar under the justly celebrated artistes Signor L. Shultz, and Signor
Louis L. Sagrini; Violincello and Tenor by first rate professors attached to the
Academie Dancing, Monsieur E. Coulon, Monsieur A. Cellarius and Monsieur P. A.
Varin, Ballet Masters at the Academie à Paris.
Fencing under Monsieur Duval and Fouche with Calisthenic and Italian exercises of the most modern description.
Private Lessons at all hours - Families and Schools attended in the City or Country.
Terms, and every Information, can be obtained by appiying (personally or by letter addressed to Monsieur T. F. Hue at Mr.
Glover's, Chemist and Druggist, Queen Street Melbourne.
Monsieur Hue can produce the highest reference as to ability and respectability.
Payments in advance. - No entrance fees, but a quarters notice required. - Vacation
twice a year, Mid-winter and Christmas.
Organs and Piano Fortos tuned on the
newest principle and guaranteed to remain dor a long period in tune.
Private Parties and Balls attended either in the Musical Department or as Master of
the Ceremonies.

MR. WILKIE BEGS to announce that the GRAND CONCERT in aid of the Funds
for the relief of the sufferers by the late Bish Fires, will take place in the QUEEN'S THEATRE,
On FRIDAY, MARCH 14TH, 1851. Lender of the Band - MR. REED.
PROGRAMME. PART I . . . Violin Solo - Mons. Hue, with Pianoforte accompaniment, Mr. Hemy - De Beriot . . .

DANCING. DANCING under the direction of the well-known talented conductor, Mons. Hue, of Reid's Creek celebrity,
takes place at the Criterion Hotel, High street, Beechworth, every Monday, Wednesday, and Saturday evening, at seven.

An associate of Andrew and Rachel Moore, George Coppin and Wellington Wallace, "Augustus
Huenerbein, musician, Pirie street" was active in Adelaide concerts, theatre and choral society in 1850 -51. By June 1852, along with several other Adelaide musicians (including his friend C. A. F. Mater) he was in Geelong and Melbourne, where 20 years later he
opened a new music warehouse in Russell Street, later trading under his late friend's name as "Mater and Co."

Having both recently been elected associates of Musical Association of Victoria, August and his son
Charles moved themselves and their business to Sydney in the mid to late 1870s.
At Aimee Saclier's concert there in November 1879:
"The songs were accompanied by Mr. A. C. Huenerbein, who took part in the duet with Miss Saclier, and also in the tutti portions of the Mendelssohn Concerto."

August senior having recently died, Charles and his brother August junior were pallbearers at Charles Packer's funeral in July 1883,
and they later raised funding for the publication of an edition of Packer's oratorio, which became available in April 1886.
According to a report of Packer's death:

Mr. August Huenerbein has the scores of "David," an oratorio and of many other compositions,
which will yet be published, and which will long preserve Charles Packer's name from oblivion.

Charles and August dissolved their business partnership in 1888.

Documentation:

"DECLARATION OF CONFIDENCE IN MR JOHN STEPHENS", South Australian Register (7 March 1850), 2s

MANY in this colony will remember the late Charles Packer, and probably several have
had the pleasure of hearing his "Crown of Thorns" unformed in the adjoining colony. Since the death of the composer the publication of
this charming composition has been undertaken by subscription, and the subscribers, and musicians generally, will be glad to learn that the
work has arrived by the Liguria, and is being delivered by Mr. August Huenerbein, of Sydney, the honorary secretary of the Packer Fund. As
this is a purely Australian production it is to be hoped we shall have the pleasure of hearing it rendered by our Musical Union.

The chief musical events of the past few days have been the Scotch concert of Miss Clara Hamilton,
and the concert given on last Saturday afternoon in the Garden Palace by Mr. Charles Huenerbein ...
The "Konoowarra Polka", composed by Mr. C. Huenerbein, was then performed by the orchestra,
aided by six young lady pianists, and went so well that Terpsichore herself, had she been present,
might have justly placed a garland on the brow of the author.

The death of Mr. Charles Huenerbein, who in his palmy days was recognised as the best
accompanist in Australia, occurred in Sydney on Wednesday.
He played for all the leading singers who visited Sydney, and was an old friend of Madam Melba and of many other vocalists of great fame.
The "Australian Star", referring to his death, said: "Recognising the artistic qualities of Madame Melba before her "discovery"
by the English and foreign critics in 1887 the late Mr. Huenerbein was one of those who induced the
Melbourne singer to visit this city in 1885. This was shortly after David Mitchell's daughter had made her debut in Melbourne as the late
Signor Cecchi's best pupil. Mr. John Lemmone made his first appearance the same year in Melbourne as a flautist.
The singer and the flautist appeared on the same platform. In Sydney in 1885 Madame Melba sang at
the Theatre Royal with John Kruse, the violinist, as the star performer,
and she also assisted at a Sydney Liedertafel concert under the baton of the late John A. Delaney.
A little later the brilliant Melbourne singer was taken on tour by the late Mr. Huenerbein.
During her visit to Australia in 1902, and again while she was singing in Sydney towards the
end of last year, Madame Melba made enquiries about the man who used to play her accompaniments divinely;
but the pianist and the singer did not meet. For the past six or seven years the late Mr. Huenerbein had been
in bad health and he was also in "low water" financially, having lost his income as a teacher.

"THE ART OF ACCOMPANYING", The Sydney Morning Herald (13 March 1909), 14

Professor Hughes, "pupil of the celebrated violinist and composer Herr Molique"
(Bernhard Molique), first advertised violin classes in Melbourne in December
1863, and in February 1864 the Theatre Royal announced that its:

unrivalled band ... has been placed under the baton of the
distinguished composer and instrumentalist, Professor HUGHES, who has
just arrived from London.

In 1868, Hughes was victim of a curious case of musical larceny, where one
Edward Goodliffe tried to pass off
some of Hughes's manuscript compositions as his own.

Hughes's operetta ("opera di camera") Les fleurs de Savoie, in which
"all the characters sustained by ladies", was produced at the
Melbourne Athenaeum in 1874-75.

In the 1890s Hughes was active in Sydney, Perth and Adelaide (as late as 1898). According to an 1874 death
notice for his mother (died in Dublin), she was the widow of "the late P. H. Hughes, Esq., formerly of Corfu, Santa Maura, and Zante".

At the Theatre Royal in April 1854, Professor Hughes introduced P. H. Hughes's The pantomime galop,
copies of which had also been "Just received by Wilkie, Webster, and Co.", and performed by Zeplin's Band.

Haydn's Mass No. 2 was effectively rendered by the choir of St. Stephen's Roman Catholic
Cathedral yesterday. For the offertory Miss Kelly sang the " Alma Virgo" (by Hummel),
and after the elevation of the Host, Professor Hughes played a "Rhapsodic Religieuse,"
composed by him for Molique, the great violinist ...

Miss Lizzie Watson's serio-comic casket (containing six of her original and copyright
songs, never before published arranged for the voice and pianoforte by
Professor Hughes) (Melbourne: Clarson, Massina, and Co., 1872)

No one could say that the spirit of Carl Linger is dead after hearing his
pupil, Mrs. Liston, of Marlborough road, Westbourne Park, play, at the
age of 90, with the same enthusiasm and delightful touch that she evidently had at the age of 13.
Her actual recollections of the personality of Linger are slight, but he bequeathed
her the legacy of a life-long love of music. Mrs. Liston has never-ceasing
praise and respect for the maestro. Mrs. Liston's voice is remarkably
well preserved, and her intonation, in an average mezzo range, is perfect.
With such a sense of pitch she shames many professional vocalists of today.
Although Mrs. Liston both sang and played in public as a girl, her name
did not actually appear for, as she says, "in those days they had a way of
keeping ladies' names out of programmes." Mrs. Liston was Miss
Marian Jane Hughes, and she treasures a piece of music "Der Sturm" of Steibelt, given her as a prize, and inscribed
by C. Linger.

Another Old Pupil.

As a child she attended Mrs. Woodcock's private school, held at the parsonage of Christ Church, Palmer place,
North Adelaide, where Carl Linger gave music lessons. A fellow pupil was Mrs.
Cross, now in Tasmania, who, at the age of 95, still plays the piano. In a recent letter to Mrs. Liston she attempted
to give an opinion as to the color of her old master's hair and eyes at the request of Miss S. E. Smith, of Blackwood,
who is painting a portrait of Carl Linger from the only photo available.
She wrote, "I cannot be sure whether his eyes were blue or grey."

Of the "Song of Australia," she wrote:

"Linger entered three compositions,
and gave me the other two to play over at Mrs. Woodcock's. We both
liked them better than the one the committee chose. I wish I had the others."

Mrs. Cross is a member of a well-known Adelaide family, her father
being Robert Stuckey, of Palmer place, North Adelaide. She modestly attempts
to correct the idea that she, as Bessie Studcey, was Linger's best pupil, saying that Mrs. John Parkin (nee Rowe)
should have the honor . . .

Within months of his arrival, Humby was granted a ticket of leave, and he set himself up
as a shoemaker "from London" in December 1850. He appeared as an accompanist-pianist for G. F. Poole, presented musical entertainments,
and advertised as a music retailer, "Having publicly introduced Music into Moreton Bay". His business seems to have failed by late 1854 and
some of his stock was auctioned off by a creditor in 1855.

Mr. Humphrey, a newly arrived emigrant, and who has opened a general fancy warehouse for his
elegant nick nacks, in Underwood's buildings, has imported a few musical instruments of a
novel description, called the Accordian. It is a small species of seraphine. The instrument
is of German invention, & combines the deep toned melody of the organ, but not so strong
in the volume, with the portability of a common-sized flute case. The reeds, or steel bars
by which the notes are produced, are disposed horizontally in the case of about 15 or 18 inches long,
and about 3 in depth. To this case is affixed a bellows of six compartments, which act upon the
reeds or steel bars, more or less according to the power desired to be given to the tone.
The keys (twelve in number), in the largest wind instrument, and five on the smaller,
are placed on the top of the case, and are worked in the same manner as the keys of a piano.
Each key produces two distinct notes, which are produced by pressure on the bellows. The tone
of the instrument seems to partake of the open diapason, and twelfth, of a full toned organ,
and sounds in an empty lofty room, equally loud as the swell organ of St. James' Church.
It is particularly adapted for sacred music, and for devotional families, and would form
a sufficient and pleasing accompaniment to choirs in the small chapels of our interior.
The knowledge of the instrument is easily acquired, and a person of any musical science would learn to play in less than a month.
The prices are from £6 to £12 each.
Several ladies of musical taste, have already called to inspect the instrument, and have
expressed their delight at the novelty and beauty of the invention. A person resting the
instrument on his knees might play for any length of time without the least fatigue.

Henry Hunicke, aged 84, passed away quietly on Tuesday last. Hunicke was an old Hobart identity,
and his struggle in the battle of life for some years has not been a successful one. Thirty years
ago Hunicke was an organ tuner of note, and southern old time cricketers remember him well. Three or
four decades ago he was the only man in Hobart who understood how to mend cricket bats; and for
many years the subject of this notice made a decent livelihood at this occupation. For the last ten
years Hunicke and his partner in life, who predeceased him about a month or two ago,
have had a hard time of it. A few kind souls who had known them in their palmy days, did
their best to smooth the inclined plane down which the aged couple were rapidly slipping, and let
a lot of sunlight into their existence.

The was also a theatre at Emu plains, about thirty miles from Sydney, on the Bathurst road ...
Here I first heard Hunt sing. Hunt was transported as a confederate of Thurtle in the murder of Ware;
a crime which was perpetrated in England about the year 1823 ...
Hunt by turning king's evidence had his punishment commuted to transportation ...
Hunt's sentence was the most severe one ever known in the colony ...
he was sentenced perpetually to a chain-gang. He was an excellent ballad singer,
and this accomplishment procured him the temporary alleviation of his sentence enjoyed while singing songs and ballads upon the stage.
I believe, however, this was but temporary; as when, by the interest of the Sydney theatre-goers with the Bathurst authorities,
Hunt was permitted to 'star it' in Sydney, the papers took the authorities so severely to task for permitting it,
that Hunt was remanded to the chain-gang, after his first appearance.

Hunt was placed on board the Countess of Harcourt, convict ship, on 8th March; she sailed
on the 16th, and Hunt, instead of being murdered on the voyage, as Ballantine has related, duly landed in Botany Bay, was moved inland to
'The Felons' Paradise' in Wellington Valley, and later on was assigned as a servant to a Mr. Jonathan Slattery at Bathurst, where he was living
when her late Majesty ascended the throne.

The Band of the 40th Regiment attend the Queen's Arcade for two hours every Saturday afternoon, and play at intervals.
The band is an excellent one, and, under the skilful leading of Mr. Hunter, it discourses most excellent music.
The selections are from the works of great masters, and are of the highest order of merit.
The Arcade of a Saturday afternoon is quite a favorite lounge.
Yesterday, and indeed on several recent occasions, it was crowded far beyond the point of comfort.

As usual the music was excellently performed, Mr. Edwin Hooke presiding at the organ, and
Mr. H. Hunter leading the choir. The following was the music selected
for the occasion: Kyrie in B flat-Haydn; Gloria, Credo, Sanctus, and
Benedictus-Van Bree; Agnus Dei in B flat-Haydn. This pretty little
church was built under the auspices of Mr. Henry Hunter, to whose
architectural taste it bears full testimony . . .

FREE CONCERTS, MOUNT ALEXANDER THEATRE. THE Proprietor, in returning thanks to his Friends
and the Public for their kind Patronage, has much pleasure in announcing that he has, at Great Expence,
made Engagements with the following well- known and favorite Artistes, who will make their first Appearance,
on SATURDAY, NOVEMBER 7. Principal performers. Mrs. BYRNES, the admired soprano; Mr. H. J. LINDSAY,
the successful delineator of the songs of Henry Russell; Herr W. GOLLMICK, the celebrated pianist and composer;
Mr. JAMES HUNTER, the great violin solo performer; Proprietor, Mr. W. COWPER

The recently formed Choral Society last evening gave their first concert in the hall of the
Mechanics' Institute. It is so often the case that a really refining entertainment lacks patronage here,
that the number of the audience was a matter of congratulation, and we trust, the fact may be taken as
indicative of an increased love of the fine arts. The society chose a by no means oft heard composition in Castlemaine -
Schiller's well known "Lay of the Bell," with the music of "Romberg."
We observe that Mrs. Hodgson and nearly all those who were members of the Philharmonic Society have joined the new creation . . .
the submissive yet manly chorus of workmen "Good master, rightly you advise," which brought out the strength of the company.
The chorus is one of a really thrilling character but difficult of execution: the singers well brought to the surface the
conception of the composer, but the influence of the instrumental aid afforded by Messrs. Howson, J. Hunter, T. Hunter,
Goode, Braithwaite, Brown, and Mrs. Fatherly showed their services to be a necessity . . .
A beautiful song, "Lo! hear the gentle lark" [recte Lo, here the gentle lark] from Miss Howson,
accompanied by the orchestra, was rendered in a style that could scarcely be surpassed and with such evident proficiency,
Miss Howson must shortly take another sphere of action. The song referred to finishes with a duette cadenza
between the flute and the vocalist. Mr. T. Hunter was the instrumentalist, and with marked precision got through his delicate task . . .

We recently intimated that Rutter's Mass in D would be sung at the Church of St. Mary,
Hargreave-street, at the Easter festival . . . The instrumentalists were Messrs. Howson (leader), J. Hunter (second violin),
Mr. T. L. Brown (violoncello), Mr. Huenerbein (viola), with Mrs. Hodgson (organist). Most of the performers were members
of the old Philharmonic Society . . .

. . . Mr. P. Hunter gave "The Brave Old Temeraire" in a vigorous, effective, and correct manner.
"The Anvil Chorus" was another success. Mr J. Hunter, who is the best amateur clarionet player we know,
gave a solo on his pet instrument, by Verdi, and was loudly encored . . .
Desiring to place on record the names of those who contributed to so great a musical treat, we give them as follows :
- Vocalists: Mesdames Hodgson and Gardiner, Misses Howson, Crowley, Bourne, Froomes, and Binns; Dr. Mackenzie,
Messrs. Firman, Carty, P. Hunter, J. J. Cooke, Hasler, Ewing, Green, Bannister, Hodgson, Heley, and Lloyd;
Masters Huenerbein and Lindsay.
Instrumentalists: Mrs. Hodgson, Messrs. Howson, Huenerbein, Brown, Rule, J. Hunter, T. Hunter, and Goode.
Pianists, Mrs. Hodgson and Miss Howson; Leader, Mr. Howson.

Mr. and Miss Howson's concert at the Mechanics' Institute last night night passed off very agreeably.
Undoubtedly it would have been more satisfying had Mr. Howson been there to give more body to the melody by his fine instrumentation,
but he being under an engagement at Sandhurst, and his name not being announced, was not expected.
With great courage Miss Howson took the burden of the programme upon herself . . .
Last night Mr. Carty and Mr. Paton contributed ballads, and Mr. John [sic] Hunter a clarionette solo . . .
The Bravura, - "Lo hear the Gentle Lark," [Lo here the gentle lark] by Miss Howson, in which she was accompanied on the flute
by Mr. Thomas Hunter, was one of the best efforts of the evening. The splendid music of the song was skilfully rendered,
both in the vocal and instrumental parts . . .

The Sisters Duvalli performed on Saturday evening to a full house.
The audience were unmistakably pleased with the entertainment, judging from the demonstrations of applause
with which both the dramatic arid terpsichorean parts were favoured. The band, consisting of Messrs Howson (leader),
Hunter, Goods, Huenerbein, sen., and Huenerbein jun., performed excellently.
The overture from the "Bohemian Girl " was especially well rendered.

The lack of amusements in Castlemaine for some time back will have prepared the public
to accord a generous support to any really good company who, in their meanderings through the colony, choose to pay this town a visit.
From information which has been received, the void is likely to be filled up next week by a company who have
earned no small notoriety in Bendigo as the Sandhurst City Musical Club. Their performances are after the Christy Minstrel style,
which at all times commands the popular ear. There are no less than 23 performers, under the management of Mr. J. W. Marshall.
Mr. James Hunter leads the orchestra, and amongst the leading players are Mr. Hallas, the well-known cornet player,
Mr. Thos. Hunter, piccolo, and in fact all the leading musicians of the Sandhurst district, men of notoriety in the musical world,
and also men of means. It is intended, we believe, to give the first concert on Wednesday next, the 22nd inst.,
when, if prestige goes for anything, they will be greeted by a full and appreciative house.

It appears that an addition has been made to the number of those who have so kindly
come forward to assist the Early Closing Association, and we are sure that the names of Scott, Westropp, and Ripper,
in conjunction with those named before, will be welcome to admirers of good music. We have been informed that the lad Allpress,
the juvenile pupil of Mr. James Hunter, by consent of his father, will play a solo on the violin.

POLICE COURT - ADELAIDE. (Concluded from yesterday.) Hwata Catsnoshin, Tora Ketchi, and Dicki-noski,
members of the Asiatic Circus Troupe, were charged, on the information of Thomas Brooks Hunter,
of Gawler, compositor, with assaulting and beating him, at Adelaide, on April 6.
Prosecutor stated that at the time the assault was committed he was a member of the orchestra at the Theatre Royal.
On the morning in question Catsnoshin said he wanted to see him in the Theatre. Replied he was busy and could not go . . .

At the Theatre Royal last night there wore two comedies played, -
the first the comic drama of the Peep Showman; the second Brougham's comedy of Playing with Fire.
Both pieces wore well played, but we regret to notice to a thin audience . . . During the evening the band under the
leadership of Mr. James Hunter played some excellent selections from popular operas with considerable skill, which was highly appreciated . . .

Last evening the complimentary benefit tendered to Mr. James Hunter, by the Sandhurst Christy Minstrels,
took place in the Royal Princess' Theatre. A crowded attendance testified to the appreciation of the many gratuitous
services often rendered by the beneficiaire. The Christy Minstrels, after a selection had been given by Hallas's Band,
took possession of the boards, and in the several songs rendered by them gained frequent applause.
"I'm waiting, my darling, for thee" was well rendered by Mr. J. W. Marshall; and Mr. S. Stewart in
"Silver threads among the gold " was very successful. A song by Sambo (Mr. H. Marks), "Do you know where nowhere is"
was enthusiastically encored. The interval was devoted to the appearance of the Sandhurst bellringers,
who gave several selections in an able manner. The second part of the programme served to introduce to the
audience several of Mr. Hunter's pupils, disciples of Paganini, who in the several performances
served to show the ease of their leader's training, and exhibiting a remarkable aptitude for the violin.
A solo " Blue bells of Scotland," by Master A. Lazarus; duet, "Here me, Norma," by Messrs. A. Lazarus and Allpress;
and solo, "Hope told a flattering tale," by Master Allpress; and another solo by Master Mellor; all showed considerable execution.
Dances and songs by members of the Christy Band enlivened the. performance and "Blinks and Jinks," characters by the company,
was very successful, the whole concluding with the plantation walk-round "Carry the news to Mary."

We have a musical genius in embryo, in the person of Master George Allpress.
Master George is little more than ten years old, and is a violinist and pianist of extra ordinary capacity.
His father, Mr. Charles Allpress, of Kangaroo Flat, Sandhurst, noticing his very early bias for music,
has had him for the last two or three years taught the violin, and he plays (on a tiny one made for him) with wonderful skill
for so small a child: his bowing and fingering are specially noticeable for their ease and finish, and as he is a fluent reader,
his appearance, as he stood recently, before a select number of musical people, playing a brilliant fantasia on airs from "Lucretia Borgia,"
was that of a little maestro. About twelve months since he commenced to display a predilection for the piano,
and his father at once placed him under the tuition of Herr Edward Calon, a Sandhurst teacher of note,
who has advanced him in his studies so rapidly that, although he did not know a note of bass when he commenced,
he is now able to execute Beyer, Linge, Farmer, Oesten, and other authors' compositions.
His execution of Beyer's "La Fille du Regiment," and West's fantasia on airs from "Guillaume Tell,"
is astonishing, the great feature being the extraordinary amount of expression introduced by him,
and the judgment he evinces in the use of the pedals. Herr Calon is very proud of his child-pupil, and he may well be so.
There is a great future in store for the little fellow if he is treated wisely. Mr. Hunter, of this city, was his tutor on the violin.

(To the Editor of the Bendigo Advertiser.) Sir, - In your issue of the 20th instant appears a paragraph
in reference to a Master George Allpress, wherein he is described as a pianist and violinist of extraordinary capacity,
and attributing his success solely to the tuition of Herr Calon. In justice to myself I cannot allow such a statement
to remain uncontradicted, and should have done so before but was in hope Herr Calon would have had the courtesy to
take the task out of my hands. I trust, however, the same publicity will be given to my letter that has been
given to your paragraph. It was I who instructed Master Allpress on the violin, he becoming my pupil when
only seven years of age, and it was wholly on account of the pains I took to give him proficiency on the
instrument that he was able to make his first appearance before a Sandhurst audience, while under my tuition,
about ten months ago. - Yours truly. JAMES HUNTER, Professional Violinist. Sandhurst, 27th September.

MR. JAMES HUNTER. The illness of this well known musician is far more serious than his
friends anticipated. His medical adviser recommends perfect rest, and has given an opinion that he will be
unable for some time, if ever again, to attend to his professional duties. Mr. Hunter has acted as leader
of the orchestra in all the theatres in this city, and is a very old resident. He has a wife and family
depending solely on his exertions, and has been unwell for several months. We understand that it is the
intention of the Sandhurst City Dramatic Club to give a performance shortly for the benefit of Mr. Hunter's family.

THE BENEFIT TO MR. HUNTER. (To the Editor of the Bendigo Advertiser.)
Sir, - It is with feelings of pleasure I often see in our local papers notices of benefits for persons who have
been so unfortunate as to meet with accidents, etc., in our mines, and for whom the public are asked to lend a helping hand.
The last was for Mr. James Hunter, the well-known musician, who has been suffering from a protracted illness for some considerable time.
I am aware that rumor should not be taken as gospel, yet almost every fact was once only rumor.
Then, assuming the case in point as only rumor, for the benefit of at least one citizen, an explanation,
I think, is necessary with reference to the paying over of the balance of the performance to him.
If it has been done, rumor is at fault; if not, the sooner it is done persons unfortunate as to the better for all concerned.
Yours, etc., INQUIRER.

We regret to learn that Mr. James Hunter, the well-known violinist, expired at Kew on the 25th September, and now lies in the
Melbourne Cemetery. He was an old resident of Sandhurst, and was known as a musician of ability. He was a native of Manchester,
and arrived in New Zealand when quite a child. At a very early age he showed unmistakable musical talents, and when thirteen years
of age he was first violinist to the Auckland Philharmonic Society, and at the same time was also leading alto of the Choral
Society. He came with his parents to Victoria over 20 years ago, and followed the profession of musician, having been employed
in nearly all the theatres of the colony. He was a resident of Sandhurst for fourteen years, and was well liked and esteemed by his
friends. He died at the age of 40, and leaves a wife and two children.

The members of the Advertiser Band, which recently completed the second year of its existence,
met on Saturday evening with a very pleasing recognition of their efforts, the companionship of compositors employed
in the office having got up a banquet in their honor. The affair took place at Host Wicklein's National Hotel,
Pirie-street, and was most successful, nearly sixty sitting down to an excellent dinner.
The principal toasts were "The Advertiser Band," proposed by Mr. Wm. Avery, and responded to by Mr. T. B. Hunter,
the bandmaster, and "Success to the Advertiser, Chronicle, and Express," proposed by Mr. W. Fowler,
and responded to by Mr. W. H. Jeffery, the managing printer. Advantage was taken of the occasion to present to
Mr. W. Avery, the chapel clerk, a handsome pickle cruet as a mark of appreciation of his services.
Selections by the band, singing, and recitations, occupied the intervals between the toasts,
and the party broke up about 10 o'clock after spending a most sociable evening.

A social was given by the Advertiser Band at the Rechabite Hall on Saturday evening.
About 200 persons were present, and the proceedings were of an enjoyable character. The programme opened with a fantasia,
"La Passirelle," which was well rendered by the band, who also gave the "See Saw" valse with capital effect . . .
Mr. Thomas B. Hunter acted as conductor of the band, and Miss E. G. Williams and Mrs. W. H. Fowler as accompanists.
At the conclusion of the concert the room was cleared for dancing, which was carried on with spirit to the strains
of a part of the band until a late hour . . .

A correspondent, writing from Adelaide, informs us of the death of Mr. Thomas Brooks Hunter, who served his apprenticeship in our
office, and who will be remembered by the public as a musician who took part in entertainments for charitable and meritorious objects. He
had only reached his 43rd year, and has left a widow and five children to mourn over their loss. The Hunter family were all musicians, and
thus became widely known wherever they took up their abode. The mother of the deceased still resides in Castlemaine.

The Advertiser printers engaged themselves in a good work the other night when they gave an entertainment, whose proceeds
were applied to the assistance of the relatives, of their late bandmaster, Thomas B. Hunter, who left the world awhile ago.
Hunter was a clever man, who had no need to remain so long a compositor if he had only been as ambitious as he was mentally capable. He
was a splendid musician, with whom to hear a tune once was to remember it ever after wards. He might have been celebrated alike
as a performer upon all sorts of instruments and as a composer of delightful melodies. His imitative power was marvellous. In the
old Mount Alexander Mail office at Castlemaine how well are remembered the skill of feats of legerdemain which he performed
upon the composing stone the next day after witnessing some conjuror at the local theatre. There was nothing which he could
not do after he had seen somebody else do it once, and his capacity for origination was as great as his mimetic faculty. What a
record Thomas B. Hunter might have had if plodding and patience had been more closely associated with his genius! But
after all, it must be right that Nature should make compensations in the arrangements of her gifts.

HUNTER. - On August 7, at the residence of her daughter, Mrs. H. Hoare, 22 Broadway, Reade Park, Catherine, widow of
the late Thomas Brooks Hunter, and loving mother of Reg and Flo, aged 81 years. Resting.

A short biography of Hunter was published in The Naval Chronicle in November 1805, probably written by his brother William Hunter,
the journal's editor. It is the sole contemporary source for the young Hunter's association with Charles Burney (1726-1814) who was
himself then only in his late twenties.

Documentation:

John Hunter, An historical journal of the transactions at Port Jackson and Norfolk Island (London: John Stockdale, [1793])

Journal kept on board the Minerva transport, from Ireland to New South Wales and Bengal, by John Washington Price, Surgeon, May 1798-June 1800; London, BL Add MS 13880;
transcribed Fulton 2000

[18 January 1800, Queen's Birthday, Sydney] ... At 3 p.m. I repaired to dinner to the Governors,
where there was a large and agreeable company,
composed of the principal officers of the colony, civil and military, & the officers of
Reliance, enlivend, graced & adorned with the presence of the most amiable ladies in the colony . . .
We spent the afternoon with the greatest pleasure & harmony being entertained with some beautiful songs by the ladies,
after which the Governor having played on the violin we had some minuets and country dances,
at 12 we sat down to supper, after which the ladies retired . . .

[William Hunter], "Biographical memoir of Captain John Hunter, late Governor of New South Wales",
The Naval Chronicle (November 1805), 349-67

Soon after their return to Scotland our juvenile adventurer was sent to his uncle, Robert Hunter,
then a merchant in Lynn Regis, who, considering his nephew too young for any particular profession,
very prudently sent him again to school in the town of Lynn. Here he became acquainted with the celebrated
Charles Burney, Doctor of Music, who was then organist to the principal church in that town,
and from being much in his family, began to testify a desire of being educated for the profession of music,
but his uncle would not consent to his following this propensity,
although so much the nephew's wish; he, however, so far indulged the youth's inclination,
as to permit his becoming a scholar for a short time. He was at one period intended for the church,
having gone so far through his education at the schools in Edinburgh as to have read the
best Latin authors, and was sent to the University of Aberdeen, but could not be prevailed on to remain there.
The early misfortune of shipwreck, so incident to a maritime life, did not abate his ardour for naval pursuits;
and finding the desire he entertained for becoming an apprentice to Dr. Burney, was not to be indulged,
he expressed to his uncle a wish to embark again on a sea life; he was, therefore, recommended to Captain Thomas Knackston,
commanding His Majesty's sloop Grampus,
upon the Lynn station, and was received on board that ship as a Captain's servant in May, 1754. Being now sixteen years old ...

With the passing of
"Blind Billy" Huntington there is little likelihood of any more musicians being
granted the right to play on McMahon's Point Wharf Sydney. For over 50 years
Blind Billy had played, first a concertina, and then an organ, at Milson's
Point, and later at McMahon's Point. Huntington's father built the original
Milson's Point wharf for the late Captain Milson, who stipulated in his will
that as long as "Blind Billy" lived he must be allowed to play on the wharves.
While the ferry company has honoured the proviso to the letter, they have always
refused to grant similar rights to others. Despite his affliction, "Blind
Billy" was a great church worker, and frequently played the organ in Crow's Nest
Baptist Church. Dr. Watson, pastor of the church, relates that when the old chap
realised that, owing to his lowly calling, he could not do enough for his church
financially, he decided that he would "reach the hearts of the people by playing
hymns on the wharf." "It was his way of preaching the gospel," said Dr. Watson.

Thomas Husband, but better known as the "sprig" was charged by a tailor named Hepburn, with robbing him of
a diamond pin, valued at £4. It appeared, that on the last day of the races,
Thursday, the prisoner was playing upon a violin in Mr. Taylor's booth, upon the
course, Hepburn came in, when the prisoner lumped up and caught hold on each
side of his waistcoat and asked him to stand treat, to this Hepburn consented,
and prisoner had something to drink, a man who was known to Hepburn by sight,
but whose name he did not remember, told him that he had seen the prisoner take
the pin out of the breast of his shirt ...

Saturday's Daily Telegraph says: Ernest Hutcheson, aged five years and a few months, the
son of Mr. David Hutcheson, of Carlton is undoubtedly a prodigy. The child was introduced to a
few musical people yesterday at Mr. Allan's, in Collins street. Perched
on his knees in a chair; he performed the fantasia, by Gautier, from "ll
Trovatore"; a fantasia, by the same composer, from "Don Giovanni"; the
"Siege of Rochelle", by Chotek; "La Sympathie" by Comettant; and a number
of other difficult selections, and the execution, time, and expression
of the performances was more than extraordinary. The child had not
muscular strength enough to bring out the full tones of the piano where
they were required, but he proved that he knew exactly what should be
done though he could not do it. Mr. Julius Herz tasked him severely by
striking chords on the piano when his back was to the instrument, but
the child named every note in each case without any hesitation, and
never made a mistake. It is ten months since he first touched a piano,
and he has had no tuition further than what he has received from his
father, who states that the boy has chiefly taught himself. He sits
down to the piano and sometimes plays for four hours without stopping,
reading the most difficult music with ease. Mr. Herz Herz will probably
take charge of the little wonder, and it will be interesting to watch his career.

"Ernest Hutcheson, aged five years ...", Grey River Argus (15 March 1877), 2

[Court evidence] ... The
statement of David Hutcheson, of 2 Grattan terrace, Grattan street
Carlton, was in substance as follows: In my youth I was apprenticed us a
blacksmith and fitter, but now I am a musician and pianoforte tuner I
teach piano playing. Before I was 15 years of age I was a band master
and an organist of a church. Before Rosina Brown cohabited with me, she
knew that I had been married in Scotland, and that my wife was alive ...

The bands of the Second Regiment and of the Volunteer Artillery were the performers,
numbering together over 40 players. Mr. Hutchinson, bandmaster of the Second Regiment, led off with his forces in a march of his own
composition "N.S.W. Cavalry."

Brigade Bandmaster W. F. Hutchinson's new "Federation Cantata" will be performed
in the presence of his Excellency the Governor at the York street Centenary Hall tomorrow night.
The composer will conduct a full chorus and orchestra of about 370 performers, with Miss Edith O. King,
Mr. Woodhouse, Herr Staedtgen, Mr. Sam Poole, Mr. Edgar Straus, and others as soloists.

The death is announced of Mr. William Forbes Hutchinson, Brigade Bandmaster of the
New South Wales Regiment, Royal Australian Artillery, which took place
yesterday afternoon. The deceased had been ailing for several months,
and for the past fortnight was treated at the Sydney Hospital, where he
succumbed at the ago of 56. The late bandmaster, who was known
throughout Australia as an accomplished musician, was born at St.
Helens, where, at the early age of 12 years, he enlisted in the St.
Helens Regiment as a bugle boy. After a few mouths' service he left for
England for the purpose of pursuing his musical career, in which he gave
great promise. He studied principally at the Royal Military Musical
College, Kellner Hall, Whitton Hounslow, and also under the late Sir
Arthur Sullivan for the flute. Five years later he, at his own desire,
returned to St. Helens, and was appointed band- master to the 12th
Regiment when only 17 years of age. He subsequently journeyed to
Ireland, and went into barracks at Cork, and was attached to the
Manchester Regiment as bandmaster. At the time of the Afghanistan war
his regiment was ordered to India on service. He remained in India for a
period of 12 years, during which time he not only performed his duties
to the regimental band, but formed several bands amongst the native
regiments. At the close of an active career in India, the late
bandmaster proceeded to New Zealand, and saw active service in the New
Zealand campaign at Waikato. Subsequently the late Mr. Hutchinson came
to New South Wales, and followed up his musical career, and was
appointed brigade bandmaster of the New South Wales Military Forces in
July 1895. During his connection with the local military forces he did
much towards raising the standard of military music in the various
regiments. In addition to his military duties the deceased gentleman
devoted considerable time and attention to the encouragement of band
music, and was instrumental in forming bands in connection with the
Blind Institution, the Sydney Amateur Military, St. Mary's High School,
the Hibernian Society, and the New South Wales Police Band (of which he
was until a few weeks ago bandmaster). The late Mr. Hutchinson was also
well known as a composer.

Huxtable was selling music and instruments from his general repository in Hobart by
December 1850, having recently returned from a stock-buying trip to London and Europe.
In partnership with J. E. Deakin from March 1854, as
Huxtable & Deakin, in 1854/55 he published the two major series of colonial compositions, The Delacourt bouquet, and
The Tasmanian lyre, both edited by Henry Butler Stoney.

A late item under their imprint was the song Tasmania the lovely, "composed by a Lady", released in May 1857.
In fact by then, "After many years residence in Tasmania, and experience, both there and at London",
Huxtable and Co. announced the opening of its "Music Warerooms and General Repository" in Ballarat in February 1857.

A very old business man of Launceston, Mr. John Alfred Huxtable, who, away in the early fifties,
carried on the book-selling business now conducted by Mr. Birchall, is at present visiting the scene of his commercial operations.
He has been residing in Dunedin, New Zealand, during the last thirteen years. Mr.
Huxtable bought the Brisbane street business from Mr. Tegg, who belonged
to a well-known family of publishers in London. While engaged in
business in Launceston, Mr. Huxtable had also a book-shop in
Murray-street, Hobart, in the house now occupied by Messrs. Bidencope
and Son ... Mr. Huxtable brought out from England, at the age of 84, his
father, Dr. Huxtable, who settled at Evandale.

Mr. J. P. HYDES, Congo Minstrel, and successful delineator of Negro Eccentricities, will
make his first appearance in Sydney, and sing a variety of Ethiopian Melodies, with the Congo Bone Castinet accompaniment, interspersed with
original conundrums, funnyicities, &c., illustrative of the Negro Life in Kentucky after "de labor ob de day."

Mr. J. P. Hydes having fraternized with Mr. Reading, the original Bones of the Serenading Company,
from which Mr. Waterland has retired, a series of
Ethiopian Concerts have been announced by these gentlemen, who purpose
giving farewell entertainments in the country districts and the
metropolis prior to their departure for California.

Mr. J. P. Hydes, a well known colonial actor, lately took a benefit at Invercargill, and we
learn from the Otago Witness gave some interesting reminiscences of his career. After describing his experiences in Sydney, Mr. Hydes passed on
to speak of Melbourne in 1852 and 1853, the time of the gold fever. ...

Mr. J. P. Hydes, the well known actor, died yesterday after along and painful
illness. He was well known in the early days of the drama in this colony, and with the late Mr. Charles Young very successfully managed
the old Queens Theatre when that house was the only theatre in Melbourne. He returned to this city when the BIJOU was opened, and was
for some time connected with the company there, but for several years past he has been in New Zealand. He finally came back to Melbourne about
two months ago, quite broken in health. Mr Hydes always had the reputation of being a very capable actor, and he was at one time a great
favourite both with the profession and the public. His age was 57.